2^ 


mTM'- 


'^Mj'-: 


GRIFFITH  &  SIMON, 

BOOKSELLERS  &  STATION NRS, 

No.  384  N.  Second  St.,  Philada. 


9ji^A 


coo 
o 


JOHNA.SEAVERNS 


TUFTS  UNIVERSITY   LIBRARIES 


9090  014  551 


'Seaverns 

SF 

309 

L3313 

1833 


THE    PRINCIPLES 


OF    THE 

ART  OF  MODERN  HORSEMANSHIP, 

FOR 

LADIES  AND  GENTLEMEN ; 

IN  WHICH 

All  late  Improvements  are  applied  to  Practice. 
BY  M.   LEBEAUD. 


TRANSLATED  FROM  THE  FRENCH, 

Bv   DANIEL  J.   DESMOND,   EsauiRK. 


PHILADELPHIA: 
E.  L.  CAREY  &  A.  HART— CHESNUT  STREET. 


1833. 


Entered,  August,  1833,  according  to  Act  of  Congress, 
By  E.  L.  Carey  &  A.  Hart. 
In  the  Clerk's  Office  of  the  District  Court,   of  the  Eastern 
District  of  Pennsylvania. 


PREFACE. 


-»■»©#•<•«— 


A  DESIRE  to  promote  the  study  of  a  health- 
ful and  graceful  exercise,  and  a  wish  to 
advance  the  interests  of  a  friendless  stranger, 
are  the  motives  that  have  induced  me  to  pre- 
sent to  the  public  the  Manual  of  the  Art  of 
Equitation,  by  31.  Lebeaud,  The  coincidence 
of  utility  and  benevolence,  has  rendered  the 
task  of  translation  interesting  and  grateful. 
The  want  of  such  a  manual  is  very  sensibly 
felt  by  all  who  are  desirous  of  uniting  a 
knowledge  of  the  principles  to  the  practice  of 
the  art. 

However  attentive  and  intelligent  an  in- 
structor may  be,  many  things  will  remain 
without  explanation,  and  many  be  performed 
without  knowing  the  principles  on  which  they 
are  done.  To  supply  this  deficiency  tlie  fol- 
lowing work  is  offered.     It  is  selected  from 


ir  PREFACE. 

the  collection  of  valuable  manuals  which  have 
within  a  few  years  issued  from  the  French 
press.  It  contains  instructions  to  train  a 
horse  to  all  the  regular  and  artificial  gaits 
that  are  necessary  to  develope  his  qualities 
and  strength,  and  to  secure  the  safety,  and 
display  the  skill  and  grace,  of  the  rider.  But 
it  is  not  pretended  that  this  manual  will  render 
a  person  a  consummate  rider.  It  is,  indeed, 
asserted  by  the  author,  M.  Lebeaud,  that  it 
is  impossible  to  become  an  accomplished 
horseman,  without  uniting  practical  lessons 
to  the  study  of  the  art  of  equitation.  To  all 
who  are  ambitious  to  become  skilled  in  this 
art,  or  who  are  led  by  impaired  health,  to 
resort  to  it  for  healthful  exercise,  the  practi- 
cal lessons  of  F.  G.  Bertola  will  be  found  an 
admirable  auxiliary,  to  impress,  illustrate, 
and  confirm,  the  principles  and  instructions  of 
this  manual.  It  cannot  escape  observation, 
that  a  taste  for  riding  on  horseback  is  mani- 
festinor  itself  amonsf  the  ladies  and  orentlemen 
of  Philadelphia.  It  must  be  acknowledged 
that  fQ\w  of  our  riders  are  skilful  or  graceful, 
and  scarcely  any  of  our  riding  horses  are 
trained  to  the  reorular  and  artificial  gaits  of 
the   manege.     This  little  work  is  now  pre- 


PREFACE. 


sented  to  the  public  to  give  a  proper  direction 
to  a  growing  taste,  and  to  obtain  a  portion 
of  its  patronage  for  a  skilful  horseman  and  a 


friendless  foreigner. 


DANIEL  J  DESMOND. 


August  24^A,  1833. 


NOTE  BY  THE  TRANSLATOR. 

When  a  gentleman  accompanies  a  lady  on 
horseback,  he  should  take  the  left  side  of  her 
horse.  The  custom  of  taking  the  ri^jht  side, 
is  derived  from  the  Enorlish  mode  of  ridinof. 
The  law  of  England  directs  the  left  hand  of 
the  road  to  be  taken ;  the  gentleman  there- 
fore takes  the  right,  to  protect  the  lady  from 
vehicles,  <fec.,  which  pass  on  her  left.  Here 
the  law  directs  the  right  hand  of  the  road  to 
be  taken,  consequently  the  gentleman  should 
take  the  left  side  of  the  lady's  horse.  It 
seems  to  be  best  adapted  to  afford  efficient 


VI  NOTE. 

assistance  whatever  may  occur.  The  right 
hand  of  the  gentleman  is  perfectly  free,  and 
may  be  used  either  to  stop  the  horse,  or 
rescue  the  lady  from  danger.  He  can  on 
this  side  aid  her  in  disentangling  her  dress, 
disengaging  her  foot  from  the  stirrup,  adjust- 
ing her  reins,  and  lifting  her  off  of  her  seat, 
without  exposing  her  to  the  accidents  which 
might  occur  to  him  if  he  attempted  to  give 
her  assistance  from  the  other  side.  It  is  not 
so  easy  to  afford  assistance  to  the  lady  with 
the  left  hand,  nor  is  it  so  easy  for  the  rider, 
to  command  his  own  horse  with  the  right 
hand. 


CONTENTS. 

CHAPTER  I. 

Of  the  Means  used  to  Break  Horses. 

Page 
Of  the  honge,  Cavesson  and  Pillars,  43 
Of  the  Bridle  and  Bit,  and  of  their  different  effects,  ]5 
Of  the  Choice  of  the  Bridle,  according-  to  the  Qua- 
lity of  tlie  moutli,  19 
Of  the  manner  of  Bridling  and  unbridling,  23 
Of  the  Saddle,  and  its  different  parts,  25 
Manner  of  Saddling  and  unsaddling,  29 
Of  Helps  and  Chastisements,  31 

CHAPTER  II. 

Elementary  Principles  of  the  Manege. 

Manner  of  Mounting  and  Sitting  on  a  Horse,  41 

Work  on  a  walk,  or  on  a  trot,  47 

Of  the  trot  upon  the  Circle,  51 

Of  Exercise  on  a  Gallop,  52 
Of  the  shoulder  inward,  and  of  the  croup  to  the 

wall,  57 
Of  stops,  half  stops,  of  falling  back,  and  of  the 

changes  of  hand,  64 

APPENDIX. 

DiKECTIONS  FOR  THE  LaDIES. 

Of  Mounting,  73 

Of  Dismounting,  79 

Vocabulary,  81 


THE 

ART  OF  HORSEMANSHIP. 

CHAPTER  L 

OF  THE  MEANS  USED  TO  BREAK  HORSES. 

Of  the  Longe,  Cavesson  and  Pillars^ 

The  longe,  is  a  long  cord  of  the  thickness 
of  the  little  finger,  at  the  end  of  which  is  a 
ring  attached  to  a  leather,  which  is  passed 
into  the  ring  of  the  middle  of  the  cavesson. 
It  is  very  convenient  to  supple  young  horses, 
that  are  to  be  made  to  trot  upon  a  circle; 
also  for  those  that  are  restive,  unsteady,  or 
retain  their  strength  through  malice  ;  and  it 
serves  for  many  other  uses. 

There  are  two  kinds  of  cavesson ;  one  of 

leather,  and  the  other  of  iron.     The  first  is  a 

sort  of  nose-band,  which    encompasses   the 

nose  of  the  horse  with  two  bands,  which  go 

2 


14  THE  ART  OF 

up  the  sides  to  be  attached  to  a  head-stall 
back  of  the  ears,  and  a  frontal  upon  the  fore- 
part. The  cavesson  of  iron  differs  from  the 
other  only,  in  the  nose-band  being  formed  of 
iron  on  the  front.  This  cavesson  is  furnish- 
ed with  three  rings  of  iron,  one  on  each  side, 
and  the  third  in  the  middle  upon  the  nose. 

The  effects  of  the  cavesson  differ  essen- 
tially from  those  of  the  bridle  ;  the  bridle 
acts  directly  on  the  lower  jaw  of  the  horse, 
and  the  cavesson  entirely  on  the  nose.  Now, 
this  part  being  much  less  sensible  than  the 
former,  the  cavesson  gives  the  means  of 
moulding  an  untrained  horse  to  all  the  move- 
ments  that  it  is  desirable  to  make  him  exe- 
cute, without  fatiguing  his  mouth  ;  it  prepares 
him  for  the  effects  of  the  bridle,  and  governs 
the  mouth  of  horses  that  are  trusted  to  be- 
ginners. 

The  pillars  are  two  round  posts,  six  feet 
high,  placed  in  the  middle  of  a  manege,  five 
feet  from  each  other,  terminated  with  a  head- 
top  pierced  with  holes,  and  furnished  with 
rings  at  the  top.  The  horse  that  is  to  be 
trained  to  piaffing,  or  to  certain  lofty  airs,  or 
that  is  to  be  made  vigorous,  is  tied  between 
these  pillars  by  the  side  rings  of  the  cavesson. 


HORSEMANSHIP.  15 

But  this  mode,  applauded  by  many  able 
horsemen,  and  censured  by  others,  demands 
on  the  part  of  him  who  gives  the  lesson,  much 
tact,  experience,  and  a  great  habit  of  using 
the  chambriere  judiciously  ;  for  without  these 
qualities,  the  lesson  of  the  pillars  would  serve 
to  injure  the  intelligence  of  the  horse,  or  to 
confirm  him  in  faults  that  ought  to  be  cor- 
rected. 

Of  the  Bridle  and  Bit,  and  of  their  differ- 
ent effects. 

The  bridle  should  be,  in  the  hand  of  an  able 
horseman,  not  an  instrument  of  constraint,  but 
one  of  assistance,  and  a  means  of  warning.  It 
is  composed  of  four  principal  parts,  which  are  : 
the  bit,  the  branches,  the  curb,  and  the  reins. 
French  bridles  have,  besides,  a  nose-band,  a 
throat-band,  a  frontal,  and  a  head-stall. 
English  bridles  have  four  reins,  instead  of 
two,  a  snaffle,  independently  of  the  bit,  and 
no  nose-band. 

The  bit,  or  mouth-piece,  is  a  bit  of  iron, 
sometimes  straight,  crooked  or  jointed,  which 
is  put  into  the  mouth  of  the  horse.  This 
piece  is  called  the  canon  ;  the  two  extremities. 


16  THE  ART  OF 

to  which  the  branches  are  attached,  the  ends 
of  the  mouth-piece,  and  the  part  which  rests 
directly  on  the  horse's  nether  jaw,  the  heel. 

After  having  much  diversified  the  form  of 
the  bit,  three  of  the  principal  ones  are  now 
generally  adopted,  to  wit ;  the  simple  bit, 
broken  in  the  middle,  which  renders  it  the 
mildest  mouth  piece ;  the  bit  "  a  trompe,"  or 
of  a  single  piece  lightly  bent  to  an  obtuse 
angle,  which  is  the  severest  of  all ;  the  pigeon 
throat  bit,  "  a  gorge  de  pigeon,"  or  free 
tongue  bit,  is  sufficiently  bent,  so  that  the 
tongue  can  lodge  in  the  empty  space  in  the 
middle.  This  last  is  the  most  generally  used  ; 
the  bit  with  the  canon,  simple  or  broken,  is 
more  suitable  for  young  horses,  that  are  not 
yet  much  accustomed  to  feel  the  iron  in  their 
mouths. 

"  Nothing  is  more  important  to  a  rider, 
than  to  know  the  effect  of  different  bits  upon 
the  mouth  of  his  horse,  for  it  is  on  the  manner 
with  which  this  part  of  the  bridle  is  regulated, 
that  the  obedience  of  the  horse,  and  often  the 
security  of  the  rider,  depends. 

*'  This  knowledge  is  acquired  by  habit ; 
we  often  attribute  to  the  insufficiency  of  the 


HORSEMANSHIP.  17 

bit,  that  which  is  but  the  effect  of  the  igno- 
lance  of  the  rider." 

The  branches,  are  two  upright  bars  of 
iron,  to  which  the  canon  is  attached  by  the 
ends  of  the  mouth-piece  ;  and  it  is  by  them 
that  the  bit  holds  the  bridle,  and  that  the  hand 
of  the  rider  makes  the  mouth-piece  act. 
Formerly  the  branches  were  made  round,  in 
many  modes,  and  very  complicated ;  now, 
straight  branches  in  the  English  fashion,  are 
generally  adopted.  There  are  three  princi- 
pal parts  belonging  to  them  ;  the  eye,  which 
is  a  hole  placed  at  the  end  of  the  short  ex- 
tremity ;  the  body  or  the  cheek  of  the  bit  to 
which  the  ends  of  the  mouth-piece  are  attach- 
ed ;  the  ring  of  the  drill  opposite  to  the  eye. 
The  separation  of  the  branches,  and  conse- 
quently the  length  of  the  mouth-piece,  should 
be  proportioned  to  the  conformation  of  the 
mouth  of  the  horse. 

The  porte-mors,  or  the  leather  which  fastens 
the  bit  and  the  bridle,  is  a  little  strap  which 
proceeds  from  each  eye  and  is  attached  to 
the  reins. 

The  curb  is  a  chain  of  iron  composed  of  large 
and  small  rings  of  a  S,  and  of  a  hook  which  pass- 
es behind  theback  part  of  the  mouth,  and  is  at- 
2*- 


18  THE  ABT  OF 

taciied  to  the  eye  of  each  branch.  The  reins 
are  two  long  straps,  which  are  attached  at 
one  end  to  the  ring  and  join  each  other  in  the 
hand  of  the  rider. 

In  the  English  reins  the  second  pair  is 
attached  to  the  snaffle. 

In  recapitulating  what  has  just  been  said 
on  the  four  parts  of  the  bridle,  it  will  be  per- 
ceived that  it  is  composed  :  of  a  bit  designed 
to  rest  upon  the  nether  jaws  at  a  finger  above 
the  hooks,  in  order  to  make  the  horse  know 
the  will  of  his  rider  by  different  degrees  of 
pressure  impressed  upon  this  very  sensible 
part  of  the  mouth  ;  of  two  branches  which 
are  levers  or  movers  of  this  bit ;  of  a  curb 
which  augments  their  action,  and  the  latter 
in  pressing  the  back  of  the  mouth  every  time 
that  the  rider  makes  the  bit  felt  ;  in  fine, 
reins,  which  are  the  movers  of  all  the  other 
parts  of  the  bridle. 

The  snaffle  is  a  sort  of  canon,  broken  very 
small,  upright,  without  branches,  without 
nose-band,  and  without  curb,  and  which  bears 
rather  upon  the  lips,  than  upon  the  nether 
jaw ;  it  is  serviceable  for  young  horses  that 
are  just  beginning  to  be  trained,  and  that  have 
not  yet  had  iron  in  their  mouths. 


^oRSE3^A^'SHIP.  19 

The  snaffle,  which  is  now  generally  added 
to  the  ordinary  curb,  is  almost  indispensable, 
for  if  an  accident  occurs  to  the  bridle,  which 
renders  it  useless,  the  rider  recurs  immedi- 
ately to  the  snaffle,  and  is  not  at  the  mercy 
of  his  horse.  It  offers  besides  the  means  to 
ease  the  mouth  by  alternately  using  the  curb 
and  snaffle. 

Of  the  Choice  of  the  Bridle,  according  to  the 
quality  of  the  mouth. 

It  is  necessary,  says  M.  de  La  Guerniere, 
from  whom  this  article  is  borrowed,  to  adjust 
the  bit  according  to  the  interior  structure  of 
the  mouth  of  the  horse,  the  branches  follow- 
ing the  proportion  of  the  chest,  and  the  curb 
following  the  sensibility  of  the  back  part  of 
the  mouth.  The  bit  should  bear  upon  the 
nether  jaw,  a  finger  or  more  from  the  sharp 
teeth  of  the  lower  jaw,  for  if  it  bore  higher,  it 
■would  wrinkle  the  lips,  which  would  have  a 
very  bad  appearance,  and  besides  would  bruise 
them.  It  is  necessary,  in  order  that  the 
mouth-piece  be  well  seated  in  its  proper  place, 
that  the  heel  be  entirely  straight  from  the 
holes  which  hold  the  mouth-piece  to  the  place 


20  THE  ART  OF 

where  the  bit  gives  liberty  to  the  tongue, 
that  is  to  say,  of  the  length  of  about  one  inch 
and  a  half,  if  not,  its  action  in  the  mouth  would 
be  false.  It  is  also  necessary,  that  the  rest  be 
made  half  a  finger  from  the  place  where  the 
bit  gives  liberty  to  the  tongue,  otherwise  the 
nether  jaw  and  the  tongue  would  be  wounded  ; 
that  the  lip  of  the  horse  be  so  exactly  lodged 
that  the  mouth  piece  cannot  be  seen  at  all ;  in 
a  word,  that  all  the  pieces  of  the  bit,  be  well 
polished  and  well  joined.  The  curb  should 
bear  flat,  immediately  below  the  bone  of  the 
under  jaw,  for  higher  or  lower,  its  effect  would 
be  almost  nothing. 

The  power  of  the  bit  should  be  proportioned 
to  the  size  of  the  mouth.  Where  too  much 
iron  is  used,  that  is  to  say,  a  mouth-piece  too 
thick  for  a  mouth  but  little  open,  it  necessarily 
causes  the  lip  to  wrinkle  ;  on  the  contrary,  if 
it  is  not  sufficiently  strong  for  the  slit,  it  enters 
too  much  forward,  and  it  is  then  said  that  a 
horse  drinks  his  bridle. 

Although  a  good  mouth  is  not  injured  by 
any  bit,  it  is  better  to  use  a  mild  one,  in  order 
to  preserve  it  a  long  time  in  a  good  state. 

As  to  horses  that  have  defective  mouths,  or 
that  resist  the  bit,  you  must  correct  these 


HORSErrlAlSSIIIP.  21 

faults  by  the  particular  form  of  the   mouth- 
piece. 

Mouths  which  cannot  support  the  action  of 
the  bit,  are  called  ivild  mouths,  or  too  tender. 

This  excessive  sensibility,  which  proceeds 
either  from  too  elevated  and  sharp  nether- 
jaws,  or  from  wounds  caused  by  a  bad  mouth- 
piece, makes  the  horse  shake  the  bridle  at  the 
least  movement,  as  if  to  disengage  himself 
from  it,  giving  blows  with  the  head,  and  beat- 
ing in  the  hand. 

Naturally  tender  mouths,  require  a  broken 
bit  with  the  end  of  the  mouth-piece  a  little 
strong,  the  branches  straight  and  long,  and 
the  curb  a  little  slack.  If  this  sensibility  be 
accidental,  there  is  no  necessity  to  indicate 
the  remedy. 

The  strong  mouth  is  that  which  draws  the 
hand,  and  resists  the  action  of  the  bit,  either 
because  the  lower  jaws  being  round,  fleshy, 
or  too  low,  the  bit  rests  more  upon  the  tongue 
than  upon  them,  or  because  the  too  great 
thickness  of  the  lips  and  the  gums  covers  the 
lower  jaws.  The  pigeon-throat  bit  is  the 
most  suitable  for  these  sorts  of  mouths,  be- 
cause the  tongue  is  at  liberty,  and  in  order  to 
render  it  more  sensible,  it  is  necessary  to 


22  THE  ART  OF 

choose  it  a  little  slender,  particularly  near  the 
ends  of  the  mouth-piece. 

Weak  mouths  that  rest  upon  the  bit  with 
great  difficulty,  however  mild  it  may  be, 
without  however  beating  the  hand,  require 
the  same  species  of  mouth-piece  as  mouths 
that  are  too  tender. 

Horses  which  have  the  head  fleshy,  the 
chest  broad,  the  lower  jaws  and  the  tongue 
large,  bear  hard  upon  the  hand,  that  is  to  say, 
rest  much  on  the  bit. 

It  is  necessary  to  give  them  a  pigeon-throat 
mouth-piece,  with  little  iron,  the  space  for  the 
tongue  being  proportioned  to  its  volume  ;  a 
slender  curb,  somewhat  compact,  because  such 
horses  have  their  under-jaws  thick,  and  of 
little  sensibility;  a  horse  also  often  bears 
upon  the  hand  from  natural  weakness,  either 
from  the  feet,  the  reins,  or  the  hips ;  he  then 
seeks  to  sustain  himself  upon  the  bit ;  the  con- 
formation of  the  bridle  cannot  correct  this 
fault. 

Mouths  with  too  great  a  slit,  require  a 
stronger  mouth-piece,  the  curb  for  which 
should  be  placed  a  little  low  ;  without  this  last 
precaution,  the  curb  would  produce  no  effect, 


HORSEMANSHIP.  23 

when  it  is  wished  to  bring  down  the  nose  of 
the  horse. 

Horses  that  have  long,  slender,  and  very 
supple  necks  ;  those  that  have  that  part  of 
the  body,  from  the  head  to  the  shoulders,  high, 
the  throat  rigid,  the  muscles  of  this  part  very 
thick,  and  the  nether  jaw  compact,  are  liable 
to  resist  the  bit  in  two  different  ways,  which 
renders  its  action  of  no  effect ;  first,  they 
make  their  necks  like  that  of  the  swan,  throw 
down  their  heads,  and  rest  the  branches 
against  the  breast ;  and  the  second  way  is, 
they  carry  their  heads  forwards  without  bend- 
ing the  front,  and  rest  against  the  throat, 
which  at  the  same  time  relaxes  the  curb. 
Horses  that  resist  the  bit  on  the  breast,  should 
have  a  very  mild  mouth-piece,  or  even  a  sim- 
ple snaffle,  and  the  others  should  have  very 
strong  branches. 

Too  strong  a  pressure  on  the  bit,  is  some- 
times sufficient  to  make  a  horse  resist  the  bit, 
in  such  a  case  it  is  only  necessary  to  destroy 
the  cause,  in  order  to  remove  the  effect. 

Of  the  manner  of  bridling  and  unbridling. 
You  must  place  yourself  on  the  near,  or 


24  THE  ART  OF 

left  side  of  the  horse,  holding  the  bridle  on 
the  bend  of  the  left  arm  ;  you  must  unbuckle 
the  halter,  to  disengage  the  head  from  the 
nose-band.  Take  the  head-stall  of  the  bridle 
with  the  right  hand,  the  bit  of  the  bridle  and 
the  snaffle  with  the  left  hand,  at  the  same 
time  rest  the  thumb  upon  the  left  under  jaw, 
to  force  the  horse  to  open  his  mouth,  into 
which  immediately  place  the  two  bits,  pass 
the  head-stall  above  the  ears  immediately  af- 
terwards, commencing  on  the  right;  throw 
the  reins  upon  the  neck,  buckle  the  nose-band, 
the  throat-band,  disengage  the  hair  of  the 
tuft,  hang  the  curb  on  the  hooks,  and  observe 
that  all  the  parts  of  the  bridle,  and  the  mouth- 
piece, be  placed  as  they  should  be. 

To  unbridle  a  horse,  commence  by  unhang- 
ing the  curb,  and  unbuckling  the  throat-band, 
and  the  nose  band ;  bring  back  the  reins  to- 
wards the  head-stall,  and  remove  it  in  the 
same  manner  that  you  placed  it ;  the  other 
parts  of  the  bridle  will  follow  themselves. 

Such  are  nearly  all  the  principal  precau- 
tions to  be  used  in  the  choice  of  a  bridle,  but 
it  is  not  sufficient  to  know  how  to  adapt  it  to 
every  mouth,  if  you  have  not  a  good  hand 
accustomed  to  its  effects,  and  to  manage  it; 


HORSEMANSHIP.  25 

for  the  best  of  bridles  would  be  almost  useless 
in  the  hands  of  a  bad  horseman. 

Of  the  Saddle^  and  its  different  parts. 

A  horseman  ought  to  pay  great  attention  to 
the  conformation  and  the  choice  of  his  saddle, 
as  it  may  not  only  wound  his  horse  in  a  dan- 
gerous manner,  but  even  cause  himself  great 
fatigue,  and  sharp  sufferings.  A  saddle  to  be 
good,  whatever  may  be  its  form,  should  fit  the 
shape  of  the  horse,  so  as  not  to  cause  rubbing, 
be  a  little  stuffed  but  very  even,  in  order  that  it 
may  bear  every  where  equally,  and  not  cause 
any  bruises.  It  is  also  necessary,  in  order 
that  it  may  be  agreeable  to  the  rider,  and  that 
he  may  sit  at  ease,  that  the  seat  be  very 
smooth  and  equal  ;  a  little  hard,  not  higher 
on  the  front  than  the  back,  and  let  it  have  but 
little  thickness  between  the  thighs  and  the 
body  of  the  horse. 

The  parts  of  which  a  saddle  is  composed 
are  :  a  saddle-bow,  side-bars,  sides  of  the 
pummel,  the  pummel,  the  withers,  the  seat, 
the  pannels,  the  quarters,  and  girth-leathers. 
The  accessory  parts  are  the  crupper,  the 
3 


26  THE  ART  OP 

portrail  or  breast  leather,  the  girths,  and  the 
stirrup  straps. 

The  saddle-bows,  are  two  pieces  of  beech 
wood,  turned  round  to  embrace  the  back  of 
the  horse.  They  give  form  to  the  saddle, 
and  support  all  the  other  parts.  The  front 
bow  comprises  the  pummel,  breasts,  and 
points ;  the  pummel  is  that  rounded  part 
which  surmounts  the  withers ;  the  breasts 
are  the  sides  of  the  bow,  the  extremities  of 
the  breasts  form  the  points. 

The  back  bow,  is  more  widened  and  round- 
ed than  that  of  the  front,  on  account  of  the 
wider  form  of  the  hips.  It  is  surmounted  in 
French  saddles  by  a  species  of  edge  or  bor- 
der, which  surrounds  the  reins  of  the  rider, 
and  which  is  called  troussequin. 

The  side  bars,  are  two  little  pieces  of  wood, 
three  or  four  fingers  wide,  and  of  the  length 
of  the  saddle,  which  make  fast  and  tie  the 
bows.  They  should  bear  exactly  the  length 
of  the  back  below  the  spine,  in  order  to  pre- 
vent the  bows  bearing  upon  the  withers  and 
upon  the  reins. 

The  pannels  are  two  cushions  of  linen,  stuff- 
ed with  hair,  as  hair  of  a  cow  or  of  a  deer, 
which  line  the  two  sides  of  the  saddle.     They 


HORSEMANSHIP.  27 

should  be  made  of  fine  linen,  as  it  does  not 
imbibe  the  perspiration  as  much  as  the  coarse 
linen  ;  the  wadding  of  hair,  or  of  the  hair  of 
a  deer,  is  most  suitable. 

The  seat  is  the  top  of  the  saddle ;  at  the 
commencement  of  this  article  it  will  be  seen 
what  qualities  it  ought  to  have  ;  it  must  be 
remarked,  that  a  seat  too  much  stuffed,  heats 
and  excoriates  more  quickly  the  seat  of  the 
rider. 

The  quarters,  are  the  external  sides  of  the 
saddle,  whatever  may  be  the  matter  of  which 
it  is  composed.  It  is  necessary  they  should 
be  wide  and  long,  for  too  short  quarters  in- 
commode the  rider  very  much,  and  excoriate 
the  ham. 

The  sides  of  the  pummel,  are,  an  edge  or 
border,  which  may  be  remarked  at  each  side 
of  a  French  saddle,  and  which  serve  to  sus- 
tain the  thighs  of  the  rider. 

The  "  centre  sanglons,"  or  girth-leather, 
are  little  straps  nailed  to  the  side  bars  of  the 
saddle  bows,  to  the  number  of  three,  on  each 
side,  and  which  serve  to  attach  the  girths. 

The  girths,  serve  to  fix,  and  tie  the  saddle 
upon  the  back  of  the  horse.     They  should  be 


28  THE  ART  OP 

wide,  and  sufficiently  strong  to  resist  every 
effort  the  horse  can  make. 

They  are  generally  three  in  number,  but 
sometimes  a  surcingle  is  used  ;  this  is  a  fourth 
girth,  which  passes  over  the  saddle,  and  is 
attached  under  the  belly,  in  order  to  strength- 
en the  girths. 

The  portrail,  or  breast-leather,  is  a  piece  of 
leather  with  three  angles,  to  each  of  which  is 
a  little  strap,  two  of  which  serve  to  attach  it 
to  the  sides  of  the  saddle-bows  of  the  front, 
and  the  third  passes  between  the  legs,  to  be 
attached  to  the  first  girth  under  the  belly. 

The  breast-leather,  serves  to  prevent  the 
saddle  from  moving  backwards,  and  from 
wounding  the  reins  ;  it  should  not  descend  be- 
low the  joint  of  the  shoulder,  so  as  not  to  con- 
strain the  movements  of  the  horse. 

The  crupper,  is  a  strap  attached  to  the 
back  bow,  and  terminated  by  a  sort  of  ring, 
into  which  the  stump,  or  trunk  of  the  tail,  is 
passed,  in  order  to  hold  the  saddle,  and  pre- 
vent it  from  moving  upon  the  withers  and 
shoulders.  The  species  of  cushion  of  which 
this  ring  is  formed,  is  called  culeron  ;  it  should 
be  sufficiently  large,  so  as  not  to  wound  the 
horse  under  the  tail,  an  accident  which  hap- 


HORSEMANSHIP.  29 

pens  often  enough,  in  summer  particularly,  to 
horses  low  in  front. 

The  stirrup  straps  require  no  description. 

A  saddle  which  has  no  sides  to  the  pummel, 
nor  edge  or  border  to  the  back  bow,  is  called 
a  smooth  or  plain  saddle. 

It  is  generally  acknowledged  that  saddles  of 
this  form  are  convenient  and  agreeable,  and 
now  scarcely  any  other  saddle  is  used  ;  such 
are  the  English  saddles  ;  but  whenever  there 
is  a  necessity  for  putting  a  portmanteau  be- 
hind the  saddle,  it  is  good  to  have  a  trousse- 
quin  to  defend  the  reins  of  the  rider. 

As  the  perspiration  which  the  pannels  of 
the  saddle  imbibe,  hardens  them,  so  as  to 
sometimes  wound  the  horse,  it  is  good  to  line 
this  part  with  calf  or  buckskin,  for  horses 
that  perspire  much. 

Planner  of  saddling,  and  unsaddling. 

After  having  lifted  up  the  girths,  the  stir- 
rup straps,  and  the  crupper,  upon  the  seat, 
you  will  pass  the  left  hand  under  the  withers, 
and  the  right  under  the  troussequin,  to  raise 
the  saddle  up,  and  place  it  gently  upon  the 
back  of  the  animal,  a  little  behind,  in  order 
3* 


30  THE  ART  OF 

to  take  the  tail  with  the  left  hand  to  twist  it 
about  for  the  purpose  of  passing  it  into  the 
crupper ;  taking  care  to  disengage  the  hair 
from  within  the  culeron,  or  ring  of  the  crup- 
per, that  they  may  not  break  nor  wound  the 
horse.  Returning  then  from  the  near  side, 
you  will  lift  up  the  saddle  softly,  to  advance 
it  towards  the  withers,  observing  always,  the 
front  bow  should  be  three  breadths  of  the  fin- 
ger from  the  shoulders,  and  that  the  crupper 
does  not  draw  too  much,  in  which  case  it  must 
be  loosened.  You  will  then  attach  the  breast- 
leather  in  front,  and  finish  by  attaching  the 
girths. 

If  you  place  a  cloth,  or  schabraque  upon 
the  back  of  the  horse,  you  must  take  care 
that  it  does  not  make  any  folds  ;  you  must 
observe  also,  that  if  the  saddle  was  placed  too 
much  in  front,  or  too  much  behind,  it  would 
wound  the  withers,  or  the  reins,  and  constrain 
the  movement  of  the  shoulders,  or  the  hips. 

You  will  commence  to  unsaddle  by  detach- 
ing the  portrait  or  breast  leather,  and  the 
girths  ;  you  will  draw  the  saddle  behind  to 
withdraw  the  tail  from  within  the  culeron 
or  ring  of  the  crupper.  You  will  lift  the 
stirrup  straps,  the   crupper,  and   the  girths 


JIOKSEMANSHIP.  31 

upon  the  seat ;  after  having  cleaned  them  if 
they  are  dirty,  you  will  raise  the  saddle  softly, 
drawing  it  towards  yourself,  in  order  to  take 
it  away  ;  you  will  carry  it  away  in  the  same 
manner  that  you  brought  it ;  you  will  then 
occupy  yourself  in  washing  the  legs  of  the 
horse,  with  rubbing  him  with  a  wisp,  after 
which  you  will  put  his  covering  on  him,  and 
conduct  him  to  the  stable. 

Of  Helps  and  Chastisements, 

Helps  are  different  useful  signals,  to  warn 
a  horse  of  the  movements  he  must  execute  ; 
chastisements  are  the  means  employed  to 
correct  him  when  he  commits  a  fault.  There 
are  four  principal  sorts  of  helps  :  different 
movements  of  the  hand  ;  of  the  bridle ;  the 
riding  whip ;  appeal  to  the  tongue  ;  various 
manoeuvres  of  the  thighs  and  legs  of  the 
rider. 

The  movements  of  the  bridle  or  left  hand 
are  the  means  of  warning  most  frequently 
employed,  and  the  action  which  the  bridle 
produces  in  the  mouth  of  the  horse,  is  the 
effect  of  the  different  movements  of  the  hand. 
A  good  hand  should  be  light,  soft,  and  firm, 


32  THE  ART  or 

qualities  which  depend  not  only  on  his  action, 
but  also  on  the  seat  of  the  rider  upon  the 
saddle  ;  for  when  the  body  is  not  steady,  the 
hand  cannot  be.  It  is  necessary  also,  that 
the  legs  should  correspond  with  the  hand, 
otherwise  the  action  of  the  hand  would  never 
be  just ;  this  is  called,  according  to  the  terms 
of  the  art,  the  agreement  of  the  hand  and 
heels,  which  is  the  perfection  of  all  the  helps. 

A  light  hand,  is  that  which  does  not  feel 
the  rest  of  the  bit  upon  the  lower  jaws ;  a 
soft  hand,  that  which  feels  the  effect  of  the 
mouth-piece  a  little,  without  giving  too  much 
rest ;  a  firm  hand  is  that  which  holds  the 
horse  strongly  on  a  rest. 

It  is  essential  to  know  how  to  accommodate 
these  three  different  movements  of  the  hand, 
according  to  the  nature  of  the  mouth  of  every 
horse,  without  constraining,  and  without 
abandoning  all  at  once  the  proper  rest  of  the 
mouth  ;  that  is  to  say,  after  relaxing  the  hand, 
to  draw  it  back  softly,  to  seek  little  by  little 
the  rest  of  the  bit,  and  also  to  take  up  the 
rest  strongly.  You  must  not  pass  hastily  from 
the  firm  to  the  light  hand,  nor  from  the  latter 
to  the  former,  because  by  doing  so  you  would 
very  soon  ruin  the  best  mouth. 


HORSEMANSHIP.  33^ 

The  hand  should  always  give  the  first 
warning,  and  the  legs  should  accompany  its 
movements,  for  it  is  a  general  principle  in  all 
the  gaits  of  a  horse,  that  the  head  and  shoul- 
ders of  a  horse  should  set  out  first.  Now,  as 
the  horse  has  four  principal  gaits,  which  are, 
to  go  forwards,  to  draw  backwards,  to  go  to 
the  right  or  to  the  left,  so  the  bridle  must 
produce  four  different  effects,  to  let  go  the 
hand,  withdraw  it,  and  to  turn  it,  to  the  right 
or  left. 

There  are  two  ways  of  yielding  the  hand : 
the  first  is,  to  bend  the  hand  downwards  by 
turning  the  nails  of  the  hand  a  little  under  ; 
the  second  is,  to  take  the  reins  with  the  right 
hand,  loosening  them  a  little  in  the  left  hand  ; 
which  makes  the  feeling  of  the  bit  pass  from 
the  latter  to  the  other,  and  in  a  word,  to  let 
the  right  hand  fall  upon  the  neck  by  relaxing 
altogether  the  reins  of  the  left  hand,  which  is 
called,  letting  the  hand  fall.  The  action  of 
holding  the  hand,  or  letting  the  hand  fall,  is 
for  the  purpose  of  pushing  the  horse  forwards. 
The  true  time  of  executing  this  usefully,  is 
after  having  marked  a  half  stop,  and  when  the 
horse  bends  his  hips,  but  not  whilst  he  is  upon 
his  shoulders. 


34  THE  ART  OF 

The  action  of  drawing  back  the  hand,  is 
made  by  drawing  it  against  the  stomach,  the 
nails  of  the  hand  turned  a  little  upwards; 
the  object  of  it  is,  to  stop  the  horse  by  making 
a  half  stop,  or  to  draw  well  backwards.  You 
must,  during  this  movement,  not  press  too 
much  upon  the  stirrips,  but  put  at  the  same 
time  your  shoulders  a  little  back,  in  order 
that  the  horse  may  stop  or  draw  back  on  his 
hips. 

The  third  and  fourth  movements  are,  to 
turn  the  hand  to  the  right  or  to  the  left ;  the 
nails  of  the  hands  should,  in  the  former  case, 
be  upwards,  in  order  to  make  the  right  act. 
A  horse  obedient  to  the  hand,  is  one  that  fol- 
lows all  its  movements. 

There  are  three  ways  of  holding  the  reins ; 
first,  separated  and  in  both  hands,  even  in  the 
left  hand,  or  one  longer  than  the  other,  ac- 
cording to  the  side  on  which  the  horse  is  to 
be  exercised. 

The  separated  reins  are  necessary  for 
horses  not  yet  accustomed  to  the  effects  of 
the  left  or  bridle  hand,  or  for  those  who  re- 
sist or  refuse  to  turn  with  a  single  hand.  You 
must  bend  the  left  hand  downwards  when  you 
draw  the  right  hand  rein  to  turn  from  this 


H0RSE3IANSHIP.  95 

side,  and  reciprocally ;  otherwise  the  horse 
would  not  know  which  hand  to  obey. 

The  reins  are  held  even,  or  equal,  in  the 
left  hand  to  conduct  an  obedient  horse  in  any 
circumstances ;  but  in  the  manege  the  inside 
rein  is  held  a  little  shortened,  for  the  purpose 
of  placing  the  head  of  the  horse  on  the  side 
on  which  he  goes  ;  for  a  horse  that  does  not 
fold,  has  a  bad  appearance  in  a  manege  ;  it  is 
more  difficult  to  bend  a  horse  to  the  right  than 
to  the  left,  as  much  because  the  greatest 
number  of  horses  are  more  stiff  to  the  right 
hand,  than  by  relation  to  the  disposition  of 
the  reins  in  the  left  or  bridle  hand  ;  there  are 
but  few  persons  who  know  very  well  how  to 
use  the  right  rein. 

You  must  hold  your  hand  a  little  higher 
for  horses  that  carry  low,  in  order  to  lift  up 
their  heads ;  it  should  be  lower  and  drawn 
near  the  stomach,  for  those  that  carry  their 
noses  in  the  wind,  in  order  to  bring  the  nose 
and  the  head  down.  When  you  carry  your 
hand  forwards,  the  curb  is  relaxed,  and  the 
effect  of  the  bit  diminished  ;  the  contrary 
happens  when  you  draw  it  near  your  stomach  ; 
this  is  good  for  horses  who  draw  on  the  hand. 
Every  rider  who  does  not  perfectly  know  the 


36  THE  ART  OF 

different  effects   of  the  reins  of  a  bridle,  will 
work  without  rules,  and  without  principles. 

The  appeal  to  the  tongue,  or  speaking  to 
the  horse,  which  every  person  knows  awakens 
his  attention,  animates  him,  and  renders  him 
attentive  to  the  other  helps,  and  to  the  chas- 
tisements which  follow  them,  if  he  does  not 
answer  to  them,  but  you  must  not  speak  too 
strongly  nor  too  frequently.  It  is  a  shocking 
impoliteness  to  speak  to  a  horse  in  the  pre- 
sence of  a  person  on  horseback,  when  you 
are  yourself  on  foot. 

The  riding  whip  is,  according  to  the  oc- 
currence, a  help  or  a  chastisement ;  it  is  a 
help  when  you  make  it  whistle  in  your  hand 
to  animate  the  horse,  when  you  make  him 
lightly  feel  the  point  of  it  on  the  shoulder  to 
make  him  lift  up  ;  upon  the  crouper  to  awaken 
the  movements  of  this  part,  etc.  In  the 
manege,  the  whip  is  carried  on  the  side  oppo- 
site to  that  on  which  you  conduct  your  horse, 
because  you  should  never  use  it  but  to  animate 
the  outside  parts.  You  must  also  hold  it  so 
as  not  to  touch  the  horse  without  necessity. 
The  rider  draws  five  particular  helps  from 
the  movement  of  the  legs :  the  pressure  of 
the  thighs,  of  the  knees,  and  of  the  hams, 


HORSEMANSHIP.  37 

of  the  calves,  and  the  delicate  pricking  of 
the  spur,  and  the  action  of  pressing  on  the 
stirrups. 

The  help  of  the  thighs  and  the  back  part 
of  the  knees,  is  made  by  pressing  them  on 
both  sides  at  once,  for  the  purpose  of  urging 
the  horse  forwards,  or  only  on  one  side  to 
warn  him  that  he  yields  too  much  on  this 
side.  This  help  when  used  a  little  vigorously, 
is  often  more  efficacious  than  the  spur,  for 
ticklish  horses  that  hold  back  from  pure 
malice  ;  that  of  the  calf  of  the  legs,  which  is 
produced  by  drawing  them  near  the  belly, 
warns  the  horse  that  he  has  not  answered  to 
the  first  warning,  and  that  the  spur  is  not 
far  off. 

The  delicate  pricking  of  the  spur,  which 
ought  to  touch  the  hair  lightly,  and  not  to 
prick  the  hide,  is  more  expressive  than  all 
the  helps,  and  if  the  horse  does  not  answer 
to  it,  you  must  press  the  spurs  vigorously. 

To  conclude,  the  pressing  on  the  stirrups, 
although  the  mildest  of  all  the  helps,  is  suffi- 
cient for  very  tender  and  well  trained  horses. 
You  must  sometimes  press  at  once  upon  the 
two,  sojjjetimes  upon  the  one  inside  or  outside 
4 


38  .  THE  ART  OF 

according  to  the  species  of  warning  that  you 
wish  to  give. 

When  the  horse  does  not  answer  to  any 
help,  whether  it  be  through  malice,  or  on  ac- 
count of  a  want  of  sensibility,  you  should  cor- 
rect him  instantly,  and  proportion  the  vigour 
of  his  chastisement  to  the  gravity  of  his  fault  ; 
but  above  all,  according  to  the  knowledge  you 
have  of  his  disposition  ;  for  if  he  is  a  horse 
that  is  sensible  to  the  least  punishment,  you 
would  dishearten  and  injure  him  if  you  chas- 
tised him  beyond  measure. 

The  chastisements  most  in  use  are,  the 
chambriere,  the  riding  whip,  and  the  spur. 

The  chambriere  is  a  long  strap  of  leather, 
attached  to  the  end  of  a  handle,  which  should 
be  four  feet  long.  It  is  used  to  give  the  first 
lessons  to  young  horses,  that  are  being  train- 
ed to  learn  them  to  piafF  in  the  pillars ;  to 
give  heart  to  a  lazy  horse ;  to  conquer  a 
restive  horse,  or  an  unsteady  one,  that  defends 
himselfagainst  the  spurs,  &c. ;  the  chambriere 
is  preferable  to  the  whip  in  these  different  cases, 
because,  being  sometimes  obliged  to  use  it  vig. 
orously,  you  need  have  no  fear  of  contusions,  or 
bruises,  which  the  cord  of  a  whip  would  cause. 

To   push   the   horse  forwards,  you  strike 


H0RSE3IA]\-SHir.  39 

him  with  the  riding  whip  upon  the  belly  and 
buttocks,  and  to  prevent  him  from  kicking  up 
his  hind  feet,  you  strike  him  on  the  shoulder. 

The  spur  is  composed  of  three  principal 
pieces  ;  the  body  or  the  branches,  the  neck 
and  the  rowel :  the  neck  should  be  a  little 
long,  in  order  that  the  rider  may  not  be  obliged 
to  press  the  heel  too  much  to  reach  the  belly 
of  his  horse,  and  the  rowel  ought  to  have  five 
or  six  very  sharp  points. 

Spurs  can  be  used  with  great  success  to 
render  a  horse  sensible  and  acquainted  with 
the  helps :  they  should  be  used  with  discern- 
ment :  you  must  use  them  vigorously  when 
there  is  occasion,  but  never  without  necessity. 
To  use  the  spur  properly,  you  must  draw  the 
calf  of  the  legs,  and  rest  the  rowel  strongly 
against  the  belly,  about  four  breadths  of  the 
finger  behind  the  girths ;  for  if  you  attack 
the  flanks,  this  part  being  much  too  tender, 
the  horse  would  kick  and  stop  short,  instead 
of  advancing.  Riders  who  apply  the  spurs 
with  a  single  blow,  astonish  and  surprise  the 
horse,  who  does  not  then  answer  as  well,  as 
when  he  anticipates  it  by  the  sensible  ap- 
proach of  the  calf  of  the  leg.  The  delicate 
pricking  of  the  spur,  sometimes  becomes  a 


40  THE  ART  OF 

sufficient  punishment  for  extremely  sensible 
horses. 

It  is  in  the  use  of  a  wise  combination  of 
helps  and  chastisements,  that  almost  the 
whole  art  of  a  good  horseman  consists  ;  still 
you  must  use  these  different  means  in  time, 
and  judiciously. 

You  must  assist  and  chastise  your  horse, 
without  making  any  great  movements. 
Nothing  is  more  ridiculous  than  bad  horse- 
men who  act  on  their  horses  in  a  hundred 
ways,  and  perspire,  as  it  is  said  vulgarly, 
blood  and  water,  without  its  redounding  to 
their  honour ;  whilst  a  true  rider  will  do 
every  thing  he  wishes  with  his  horse,  with- 
out having  (if  I  may  be  allowed  to  say  so), 
the  appearance  of  being  occupied. 


HOUSE>IA>'SHIP.  41 


CHAPTER  II. 

ELEMENTARY  PRINCIPLES  OF  THE  ART   O^   THE 
MANEGE. 

Manner  of  Mounting,  and  Sitting  on  a  liorse. 

Before  mounting  your  horse,  you  should 
glance  your  eye  over  his  whole  equipment  ,* 
this  examination  is  the  affair  of  an  instant 
when  you  have  acquired  a  habit  of  making  it, 
and  may  prevent  many  accidents.  You  will 
at  first  examine  if  the  throat-band  is  not  too 
tight,  or  the  nose-band  too  loose  ;  if  the  bit  is 
not  too  high,  which  will  wrinkle  the  lips,  or 
too  low  which  will  make  it  bear  too  much  on 
the  hooks ;  if  the  curb  bears  well  on  the  flat 
side ;  if  the  saddle  is  not  too  far  forward,  or 
too  far  behind  ;  if  the  girths  are  not  too  loose, 
which  will  make  the  saddle  turn  under  the 
belly  of  the  horse,  or  too  tight,  which  will 
make  them  break,  or  suffocate  the  horse ;  if 
the  breast-leather  is  well  placed,  the  crupper 
4*^ 


42  THE  ART  OF 

but  not  too  much,  sufficiently  long ;  if  the  stir- 
rup strapsare  not  too  long,  or  too  short,  &;c. 

Having  made  this  examination,  you  must 
approach  the  left  shoulder  of  the  horse,  say- 
ing to  him,  ho,  to  warn  him  for  fear  of  start- 
ling him :  you  will  hold  the  whip  in  the  left 
hand,  its  point  down ;  you  will  pass  the  reins 
into  this  hand,  after  having  adjusted  them 
with  the  right  hand ;  in  this  manner  you 
will  take  a  handful  of  hair  at  eight  or  ten 
inches  above  the  wither.  Taking  then  the 
stirrup-strap  with  the  right  hand,  you  will 
raise  your  leg  without  bending  your  body,  to 
place  your  foot  into  the  stirrup,  taking  care 
not  to  touch  the  belly  of  the  horse,  after 
having  taken  a  second  point  of  rest,  by  laying 
hold  of  the  back  bow  of  the  saddle  with  the 
right  hand,  as  far  forward  as  it  is  possible, 
you  will  raise  yourself  to  the  height  of  the 
saddle,  without  bending  the  body ;  you  will 
extend  the  right  leg,  which  you  will  pass 
above  the  croup,  after  having  let  go  the  back 
bow,  advancing  your  hips  and  examining  your 
reins  thoroughly,  you  will  fall  into  the  saddle 
without  jolting,  and  with  the  proper  posture 
of  your  body.  These  various  movements 
should  be  executed  with  grace,  with   ease, 


HORSEMANSHIP.  43 

without  precipitation,  and  without  touching 
the  horse,  either  with  the  point  of  the  left 
foot,  or  the  leg  of  the  right. 

After  having  let  go  the  mane,  and  seated 
yourself  on  the  saddle,  you  must  pass  the 
whip  in  the  right  hand  above  the  chest  of  the 
horse ;  take  the  end  of  the  reins  with  the 
same  hand,  to  equalize  them,  and  to  adjust 
them  in  the  left,  holding  them  separated  by 
the  little  finger,  and  letting  the  button  fall 
upon  the  right  shoulder  of  the  horse;  fold 
the  end  of  your  fingers  in  the  hollow  of  your 
hand,  the  nails  above,  and  extend  the  thumb 
upon  the  reins  to  make  them  secure  ;  in  fine, 
to  strengthen  you  on  the  seat,  your  waist  and 
buttocks  removed  from  the  back  bow,  the 
reins  folded  and  firm,  without  stiffness. 

A  beautiful  posture,  giving  the  rider  no  less 
advantage  to  govern  his  horse,  than  grace,  is 
the  first  quality  which  a  scholar  ought  to 
endeavour  to  acquire. 

Grace  does  not  consist  in  sitting  on  a  horse 
immoveable,  as  fixed  and  as  stiff  as  a  piquet, 
nor  in  affecting  a  studied  attitude,  but  to  know 
well  how  to  yield,  or  to  resist,  in  proper  time, 
the  different  movements  of  the  horse  :  to  pre- 
serve the  equilibrium  and  perpendicular  posi- 


44  THE  ART  OP 

tion,  without  which  you  cannot  be  master 
of  yourself  or  of  your  horse  ;  in  a  word,  to 
preserve  in  all  his  movements  the  temper, 
freedom,  and  ease,  which  are  natural  to  him. 

The  body  of  a  horseman  may  be  divided 
into  three  parts  ;  two  of  which,  the  high  part 
and  low  part,  should  remain  moveable,  and  the 
third  part  immoveable.  The  high  part,  com- 
prehends the  head  and  the  body  to  the  waist. 
The  head  should  be  straight  and  high,  with- 
out affectation,  free  between  the  shoulders, 
and  looking  between  the  ears  of  the  horse,  the 
breast  widened,  the  shoulders  free,  parallel, 
well  covered,  and  a  little  thrown  behind. 

The  arms  should  fall  perpendicularly  against 
the  body,  without  sticking  to  it ;  the  parts  of 
the  arm  between  the  elbow  and  the  wrists 
extended  forward,  without  stiffness.  The  left, 
or  bridle  hand,  governs  the  fore  part  of  the 
horse,  it  should  be  placed  at  the  height  of  the 
naval,  at  four  or  five  breadths  of  a  finger  from 
the  belly  ;  let  the  lines  which  tie  the  fingers 
to  the  hand,  be  perpendicular  to  the  bow,  the 
right  ought  to  be  placed  at  the  height  of  the 
left  hand,  and  near  it ;  the  point  of  the  whip 
should  be  always  turned  down,  falling  between 


HORSEMANSHIP.  45 

the  shoulders  of  the  horse,  and  the  thigh  of 
the  rider. 

The  middle  part  of  the  body  is  immovealile, 
and  naturally  forms  the  point  of  rest  of  the 
rider.  For  this  rest  to  be  perfect  you  must 
advance  the  waist  and  the  hips,  hold  the  thighs 
extended,  and  turned  inwards,  draw  back  and 
close  the  knees,  and  sit  upon  the  rump. 

On  the  position  of  the  lower  part  of  the  bo- 
dy, depends  the  perpendicular  position  which 
is  so  necessary  to  a  horseman,  these  parts 
serve  besides  to  govern  the  body,  and  the  back 
part  of  the  horse. 

The  thighs,  and  the  hams  must  be  turned 
inwards,  in  order  that  the  flat  part  of  the 
thigh  may  be  (so  to  speak,)  stuck  along  the 
length  of  the  quarters.  The  true  position 
of  the  legs,  is  to  fall  perpendicularly,  from 
the  knee  down,  and  to  be  at  once  free  and 
firm,  for  without  this  security,  the  legs  will 
be  tossed  against  the  belly  of  the  horse, 
and  will  keep  him  in  a  continual  state  of  rest- 
lessness ;  if  they  are  too  far  from  the  belly, 
they  will  take  away  the  facility  of  aiding  or 
chastising  the  horse  properly;  if  too  far  ad- 
vanced, they  will  correspond  with  the  breast, 
instead  of  the  bellv ;  if  too  far  behind,  thev 


46  THE  ART  OF 

will  correspond  with  the  flanks ;  in  a  word,  if 
they  are  held  too  short,  they  would  raise  you 
from  the  saddle,  when  you  would  press  upon 
the  stirrups. 

The  point  of  the  foot  ought  to  be  turned  a 
little  inwards,  a  little  lower  than  the  heel, 
without  being  too  much  so,  and  jut  out  of  the 
stirrup  an  inch  or  two  at  the  most ;  all  the 
movements  of  the  different  parts  of  the  body 
should  be  supple,  united,  and  little  extended. 
Put  your  foot  to  the  ground,  according  to  the 
same  principle,  which  you  observed  in  mount- 
ing your  horse,  and  immediately  detach  the 
curb. 

The  first  lessons  of  equitation  should  be  di- 
rected to  the  instructing  the  scholar  to  learn 
to  hold  himself  well  upon  the  saddle,  and  to 
maintain  himself  there,  in  all  the  movements 
which  his  horse  can  execute.  Nothing  is 
more  efficacious  to  attain  that,  than  the  les- 
son of  the  trot,  because  that  gait  being  the  one 
that  shakes  the  rider  most,  the  others  are  but 
play  after  it. 

After  having  acquired  in  school  this  per- 
pendicular position,  and  this  firmness,  of  which 
we  have  just  spoken,  you  must  exercise  your* 


HORSEMANSHIP.  47 

self  upon  yonng  horses  full  of  ardour,  and  of 
vivacity,  in  order  to  be  sure  of  yourself. 

Work  on  a  walk,  or  on  a  trot* 

After  having  exercised  yourself  many  times, 
mounting  and  dismounting,  without  stirrups 
or  spurs,  the  beginner  will  place  himself  upon 
the  saddle,  observing  in  the  position  of  the 
different  parts  of  his  body,  the  precepts  de- 
veloped in  the  preceding  article,  and  will  put 
his  horse  on  a  walk  upon  the  right  hand  track. 

For  that  purpose,  he  will  let  the  left  hand 
fall  a  little,  making  the  help  of  the  legs  felt 
at  the  same  time ;  movements  which  should 
be  accompanied  with  a  light  blow  of  the  whip 
upon  the  right  shoulder,  without  otherwise 
deranging  the  hand. 

Whilst  the  horse  walks,  you  will  use  the 
helps  of  the  legs  with  exactness,  that  is  to  say, 
very  equally,  in  order  to  maintain  him  in  a 
right  line,  and  to  sustain  his  pace ;  you  will 
take  equal  care  not  to  derange  any  of  the 
parts  of  the  body  from  their  proper  situation, 
because  it  would  harden  the  horse  in  error, 
and  would  force  him  to  break  from  the  line. 
Having  arrived  at  the  end  of  this  line,  which 


48  THE  ART  OF 

is  ordinarily  marked  by  an  angle  of  the  wall, 
or  de  haie,  the  rider  will  assist  the  horse, 
by  taking  this  angle  well,  to  turn  regularly, 
for  that  purpose  he  will  carry  the  hand  to  the 
left,  and  will  turn  it  afterwards  in  a  manner 
that  the  thumb  may  be  directed  on  this  side, 
and  the  little  finger,  towards  the  right,  the  nails 
a  little  above,  in  order  to  make  the  right  rein 
act  more  or  less  according  to  the  sensibility 
of  the  lower  jaws,  and  as  soon  as  the  horse 
will  have  obeyed,  you  will  keep  him  as  before 
in  a  right  line.  That  this  movement  may  be 
executed  regularly,  it  is  necessary  that  the 
head,  the  shoulders,  and  the  hips  pass  suc- 
cessively in  the  angle,  and  so  make  at  the 
same  time  the  help  of  the  legs  felt,  but  par- 
ticularly of  the  right,  in  order  that  the  back 
part  of  the  horse  may  not  be  slow. 

After  having  again  travelled  over  a  certain 
distance  in  a  right  line,  you  will  execute  one 
as  the  first  time,  to  the  right,  to  put  yourself 
in  a  parallel  line  to  the  first,  and  at  the  end  of 
this  line  you  will  dispose  yourself  to  turn  in 
the  inverse  sense  to  the  two  former  terms, 
that  is  to  say,  by  turning  the  nails  a  little 
downwards,  and  by  pressing  the  left  leg  a  lit- 
tle more. 


HORSEMANl^HlP.  49 

In  this  manner  you  will  place  yourself  on 
the  left  track,  and  you  will  turn  the  corners 
in  the  same  sense,  till  you  execute  a  new 
change  of  the  track  or  hand.  It  is  well  to 
observe,  that  when  the  horse  turns  to  the 
right,  or  to  the  left,  the  shoulder  of  the  rider 
on  the  opposite  side,  remains  naturally  back, 
which  gives  a  bad  appearance,  and  removes  a 
part  of  his  perpendicularity ;  this  he  must 
avoid,  by  advancing  imperceptibly  this  part, 
until  it  is  replaced  in  the  right  line. 

When  you  have  been  sufficiently  exercised 
on  a  walk,  and  when  you  have  acquired  the 
necessary  perpendicularity,  you  will  pass  to 
the  lesson  of  the  trot,  which  is  the  only  thing 
that  can  give  the  degree  of  suppleness  and 
perpendicularity,  without  which  you  cannot 
be  a  perfect  horseman. 

To  start  on  a  trot,  you  must  bring  up  your 
horse,  yield  the  hand,  and  take  it  up  quickly  ; 
draw  your  legs  near,  a  little  lively,  and  very 
equally. 

In  going,  you  will  yield  the  hand  very 
softly,  until  it  be  well  replaced ;  above  all,  it 
is  necessary  to  pay  attention  not  to  resist  at 
the  departure  of  the  horse,  nor  during  the  re- 
turn. 

5 


GO  THE  ART  OF 

In  proceeding  thus  in  the  trot,  yoU  must 
recollect  the  position  which  the  three  parts 
of  the  body  should  have  ;  to  turn  the  thighs 
upon  the  flat  part,  and  to  leave  them  like  the 
legs,  to  their  own  weight ;  it  is  only  by  this 
means,  that  the  movements  of  the  rider  will 
harmonise  perfectly  with  those  of  his  horse. 

You  follow  the  same  tracks  on  the  trot,  as 
on  the  walk ;  the  turnings  and  changings  of 
the  hand  operate  in  the  same  manner,  with 
this  single  difl?erence,  that  the  help  of  the 
legs  ought  to  be  a  little  more  vigorous,  in  order 
that  the  trot  may  not  slacken.  You  must 
never  terminate  the  return  of  the  trot  with- 
out having  restored  the  horse  to  a  walk. 

With  this  view,  to  pass  from  the  first  gait 
to  the  second,  you  will  execute  a  half  stop,  by 
drawing  back  the  left  hand  a  little,  and  press- 
ing the  legs  lightly,  in  order  that  the  horse 
may  not  stop,  and  also  that  he  will  have  obey- 
ed, you  will  replace  your  legs  and  hands. 
You  will  also  commence  the  lesson  of  the 
tret  by  some  exercises  of  the  walk,  with  the 
changings  of  the  hand. 

You  cannot  attain  the  riding  of  a  horse 
well,  without  repeating  these  exercises,  and 
above  all,  that  of  the  trot,  until  you  are  per- 


HORSEMANSHIP.  51 

fectly  familiarized  with  the  different  chang- 
ings  of  the  hand,  also  with  the  helps  which 
you  draw  as  much  from  this  part  as  from  the 
legs,  and  as  you  know  how  to  adapt  your  atti- 
tudes and  movements  to  those  of  the  horse. 

You  will  require  a  more  free  and  length- 
ened trot,  in  proportion  to  the  progress  you 
will  make,  and  you  will  pass  to  the  following 
exercises  when  you  will  be  sufficiently  ad- 
vanced. 

Of  the  trot  upon  the  circle* 

This  lesson  is  extremely  useful,  to  confirm 
a  beginner  in  the  two  former  lessons,  and  to 
learn  him  more  and  more  to  become  master 
of  all  the  movements  of  his  horse. 

After  having  gone  through  some  tracks, 
and  exercised  some  changings  of  hand,  at 
first  on  the  walk,  then  on  the  trot,  upon  a 
straight  line,  always,  however,  without  stir- 
rups or  spurs,  you  will  return  him  to  a  walk, 
and  you  will  bring  back  the  hand,  without 
stopping,  till  you  feel  slightly  the  right  rein, 
in  order  to  bend  the  head,  the  neck,  and 
the  shoulders  of  the  horse  a  little  inwards, 
and  the  leg  outwards  ;  you  will  push  him  af- 


OZ  THE  ART  OF 

ter wards  on  a  trot,  taking  care  to  feel  lightly 
the  inside  Tein  and  outside  leg. 

The  turnings  and  changings  of  hand  will 
be  executed  in  this  lesson,  in  the  same  man- 
ner as  in  that  of  the  gallop,  of  which  we  are 
going  to  speak ;  but  you  must  pay  attention 
not  to  allow  the  horse  to  lose  his  hold  at  the 
moment  of  bringing  him  up ;  the  trot  should 
be  free,  bold,  and  lengthened. 

It  is  well  to  remark,  that  the  lesson  of  the 
trot  on  the  circle,  fatigues  beginners  horri- 
bly, who  take  it  without  being  prepared  in 
advance  by  the  trot  on  a  right  line.  But  no- 
thing is  more  proper  than  this  exercise,  ^t 
once  to  supple  the  horse  and  the  rider,  and  to 
increase   his   perpendicularity. 

The  lesson  ought  to  finish,  as  it  has  com- 
menced, that  is,  with  the  ordinary  trot  and 
walk. 

Of  exercise  on  a  gallop. 

This  lesson,  although  less  painful  than  the 
two  preceding,  is  more  difficult  for  beginners, 
and  ought  not  to  be  taken  before  they  are 
well  instructed  in  the  others. 

After   some   evolutions   and  changings  of 


HORSEMANSHIP.  53 

hand  on  a  walk,  and  on  a  trot,  you  will  seize 
the  moment  you  feel  yourself  in  the  best  per- 
pendicular position,  to  put  your  horse  to  a 
gallop. 

It  is  essential  for  that  purpose,  that  the 
rider  renders  the  articulations  of  his  reins,  or 
lower  part  of  the  back  and  knees  supple  and 
soft,  in  order  to  preserve  this  perpendicularity, 
which  would  without  it  be  infallibly  lost. 

It  is  also  in  this  gait  that  the  division  of 
the  three  parts  of  the  body  of  the  rider  is 
most  apparent,  because  the  part  of  the  body 
called  the  waist,  should  be  perfectly  united  to 
the  movements  of  the  horse,  and  the  higher 
and  lower  parts,  are  in  continual  activity,  to 
maintain  the  equilibrium  of  the  entire  mass. 

To  start  on  a  gallop  to  the  right,  you 
must  bring  up  softly  the  front  of  the  horse 
with  the  bridle  hand,  at  the  same  time  that 
you  force  the  haunches  under  him  to  go  ; 
throw  down  your  hand,  the  nails  upwards  in 
order  to  stretch  the  left  rein  a  little,  which 
will  force  the  horse  to  bend  his  head  a  little 
on  this  side,  and  render  the  shoulder  more 
free,  and  consequently  the  right  leg,  which 
ought  to  start  off  first,  this  is  what  is  called, 
to  gallop  on  the  right  foot.  You  will  at  the 
5* 


64  THE  ART  OP 

same  time  make  him  feel  the  help  of  the  legs, 
particularly  of  the  right ;  as  soon  as  he  will 
have  obeyed,  you  will  make  him  lower  his 
head  a  little  inwards,  by  rounding  the  hand, 
the  nails  a  little  downwards,  so  that  he  may 
feel  the  right  rein ;  you  will  hold  the  legs  al- 
ways near  the  body,  to  maintain  the  horse  in 
action,  and  to  continue  the  measured  move- 
ment of  the  back  part  of  the  horse  ;  this  is 
what  is  called  feeling  the  horse  between  your 
legs.  The  high  part  of  the  body  should  be 
held  a  little  thrown  back,  and  you  must,  from 
the  moment  you  feel  his  quickness  relax  a 
little,  yield  your  hand,  and  recover  it  back  to 
its  former  position  instantly,  without  chang- 
ing the  degree  of  the  pressure  of  the  legs. 

When  you  will  have  arrived  at  the  moment 
for  turning  the  corner  to  the  left,  you  should, 
without  deranging  your  hand,  in  order  not 
to  lose  the  bend  of  the  horse,  content  your- 
self with  bearing  a  little  to  the  left,  and  the 
right  leg  will  thus  always  be  carried  a  little 
forwards.  To  depart  from  the  corner,  you 
let  the  hand  fall  on  the  right,  which  will  hin- 
der the  second  raising  of  the  front  part  of  the 
horse;  then  the  help  of  the  legs,  employed 
equally,  will  force  him  to  go  forward  on  the 


HORSLMANSIIIP.  65 

track  of  the  last ;  the  left  leg  on  this  side 
will  be  forced  to  whirl  upon  the  heel,  whilst 
the  front  part  of  the  horse  will  bear  upon  the 
new  track,  that  is  to  say,  will  start  from  the 
corner,  to  take  the  new  line. 

The  different  helps  of  the  hand  and  of  the 
legs  should  be  in  this  action,  proportioned  to 
the  quickness  of  the  gallop,  and  combined  in 
such  a  manner,  that  this  quickness  should  not 
relax  a  single  instant. 

To  change  the  hand  in  a  gallop  to  the  right, 
you  will  make  the  leg  on  this  side  felt.  The 
horse  being  already  bent,  you  will  easily  ex- 
ecute this  evolution,  but  it  will  not  be  so  when 
you  will  try  to  make  him  take  the  left  track 
to  gallop  on  this  side. 

The  change  of  hand  ought  to  begin  with  a 
time  of  stopping;  in  order  to  execute  it  well, 
you  relax  a  little  the  right  rein,  and  let  the 
hand  fall  towards  yourself,  diminishing  the 
pressure  of  the  legs  ;  by  these  means  you  will 
remove  the  bend  of  the  horse,  which  will 
restore  the  shoulders,  and  the  hips  to  a  level. 
The  horse  having  then  recovered  his  perpen- 
dicularity, as  he  was  on  a  walk,  you  will  put 
him  on  his  hips  again  ;  you  will  round  your 
hand,  the  nails  a  little  downwards,   making 


56  THE  ART  OF 

him  feel  at  the  same  time  the  help  of  the  leg, 
for  the  purpose  of  making  the  left  shoulder 
free,  which  will  naturally  carry  forward  the 
leg  of  the  fore  part  on  this  side.  When  the 
horse  will  have  obeyed,  you  will  return  the 
hand,  the  nails  a  little  upwards,  till  the  left 
rein  is  felt,  in  order  to  bring  down  the  head 
inwards.  The  changings  of  the  hand  from 
left  to  right,  and  the  taking  the  corners  on  a 
gallop  on  the  left  foot,  are  executed  in  the 
same  manner,  and  by  the  same  means,  in  an 
inverse  sense,  as  the  changings  of  the  hand 
from  right  to  left,  and  the  taking  of  the  cor- 
ners on  the  gallop  on  the  right  foot. 

When  by  the  aid  of  these  exercises  repeat- 
ed, you  will  have  acquired  the  suppleness  and 
freedom  necessary  for  the  part  of  the  inferior 
extremities,  you  will  begin  to  put  on  spurs, 
and  to  use  stirrups. 

The  height  which  the  stirrups  will  be  car- 
ried, ought  to  be  calculated  by  the  manner  in 
which  they  will  carry  the  natural  weight  of 
the  legs;  when  the  stirrup  straps  are  too 
long,  they  force  the  rider  to  stretch  his  legs 
beyond  measure,  to  seek  the  stirrups,  which 
would  make  him  lose  the  perpendicularity 
which  he  should  have  on  the  saddle  ;  when 


HORSEMANSHIP.  57 

they  are  too  short,  they  oblige  him  to  let  his 
knees  fall,  which  would  carry  the  heels  too 
far  in  the  rear,  which  would  oppose  the  move- 
ments of  all  the  lower  parts. 

You  will  repeat  with  spurs  and  stirrups, 
the  lessons  of  walking,  of  trotting,  of  trotting 
on  a  circle,  and  on  a  gallop,  always  taking 
care  to  commence,  and  finish,  each  lesson,  by 
some  exercises  of  the  precedent  lessons.  It 
is  by  these  different  exercises  repeated  with 
perseverance,  and  often,  that  you  will  attain 
the  removal  of  the  greatest  faults,  to  which  a 
beginner  is  subject. 

When  the  scholar  will  be  perfectly  instruct- 
ed in  these  first  lessons,  he  should  not  cer- 
tainly flatter  himself  with  being  a  consummate 
horseman,  but  he  will  at  least  be  in  a  state  to 
manage  a  horse  with  grace  and  facility,  and 
if  he  wishes  to  acquire  a  little  more  dexterity, 
he  might  pass  to  the  following  lesson. 

Of  the  Shoulder  inward,  and  of  the  Croup 
to  the  wall. 

These  two  lessons  are  excellent  to  perfect 
the  suppling  of  a  young  horse,  when  he  will 
have  been  sufficiently  exercised  on  the  trot  to 


58  THE  ART  OF 

teach  him  to  go  side  ways,  to  pass  his  legs 
one  over  the  other  without  hurting  himself, 
to  turn  short  without  embarrassment  or  diffi- 
culty, and  to  give  grace,  etc.  :  they  are  not 
less  necessary  to  a  horseman  under  many 
other  relations. 

If  he  desires  to  train  a  young  horse  to  the 
lesson  of  the  epaule  en  dedans,  when  he  will 
know  how  to  trot  freely  with  both  hands  on 
the  circle,  and  on  a  straight  line,  with  a 
tranquil  and  equal  pace ;  when  he  will  have 
accustomed  him  to  make  rests  and  half  rests, 
and  to  carry  his  head  inward,  he  must  lead 
him  to  a  little  step  slow  and  short,  the  length 
of  the  wall,  and  place  him  in  a  manner  that 
his  hips  and  his  shoulders  will  be  on  two  dif- 
ferent lines. 

The  line  of  the  hips  should  be  near  to  the 
wall,  and  that  of  the  shoulders  a  little  more 
distant ;  the  horse  bent  to  the  hand  where 
you  conduct  him,  that  is  to  say,  instead  of 
holding  him  entirely  straight  on  the  hips  and 
shoulders  on  the  same  line,  you  must  turn  his 
head  and  shoulders  a  little  inward,  as  if  you 
wished  to  turn  him  effectively,  and  without 
letting  him  quit  this  oblique  and  circular  at- 
titude, to  make  him   go  forwards  along  the 


HORSEMANSHIP.  59 

wall,  assisting  him  with  the  inward  leg,  and 
sustaining  him  lightly  with  the  outside  leg. 

Now  it  is  evident  that  he  cannot  go  in  this 
position  without  throwing  the  inside  leg  over 
the  outside  one. 

M.  de  la  Gueriniere,  from  whom  I  borrow 
the  greatest  part  of  this  article,  regards  the 
lesson  of  the  epaule  en  dedans,  as  the  most 
advantageous  of  all  those  that  can  be  employ- 
ed to  give  a  horse  a  perfect  suppleness,  and 
an  entire  freedom  in  all  his  parts.  This  is 
so  true,  says  he,  that  a  horse  trained  accor- 
ding to  these  principles,  and  spoiled  afterwards 
by  a  bad  horseman,  passing  afterwards  into 
the  hands  of  an  able  man,  will  be  re-established 
very  soon.  The  principal  effects  of  this 
lesson,  are  to  supple  the  shoulders,  to  put  the 
horse  upon  his  hips,  and  to  dispose  him  to 
avoid  the  heels. 

To  execute  the  changings  of  the  hand  in 
the  lesson  of  epaule  en  dedans,  you  must, 
without  removing  the  bend  of  the  head  and 
of  the  neck,  correct  the  shoulders  and  the 
hips,  quit  the  wall,  and  make  the  horse  go 
diagonally  until  he  has  reached  the  new 
track  on  which  you  wish  him  to  go.  There 
you  must  place  his  head  to  the  left,  if  it  was 


60  THE  ART  OP 

before  on  the  right  hand  track,  the  shoulders 
inwards  and  detached  from  the  wall,  as  before, 
and  conduct  him  in  this  new  direction  until 
you  judge  it  proper  again  to  change  the  hand. 

When  the  horse  will  commence  to  obey- 
both  hands,  in  the  lesson  of  epaule  en  dedans, 
you  will  learn  him  how  to  take  the  corners  well, 
which  M.  de  la  Guereniere  again  says,  is  the 
most  difficult  part  of  this  lesson.  You  must 
for  this  purpose  make  the  shoulders  enter  the 
corner  without  deranging  the  head,  and  in 
proportion  as  they  go  out  from  it,  make  the 
hips  enter  it  in  their  turn,  in  order  that 
they  may  pass  every  where  through  which 
the  shoulders  will  have  passed. 

It  is  with  the  inside  rein,  and  the  leg  of 
the  same  side,  that  you  can  push  the  horse 
forward  in  the  angles,  but  when  you  turn  him 
on  the  other  line  it  must  be  with  the  outside 
rein,  by  carrying  the  hand  inwards,  whilst  he 
has  his  leg  raised  and  ready  to  fall,  in  order 
that  by  this  movement  the  outside  leg  may 
pass  over  the  inside  one ;  you  must  at  the 
same  time  prick  him  with  the  inside  spur. 

The  lesson  of  the  shoulder  inside,  or  epaule 
en  dedans,  should  be  repeated  until  the  horse 
takes  the  corners  well,  and  executes  all  the 


llOKSEMAIS'SHir.  61 

changes  of  the  hand  freely,  without  difficuUy, 
and  without  resisting.  The  trot,  on  an  en- 
larged circle,  is  at  once  the  best  means  of 
supjiling,  and,  at  the  same  time,  of  chastising 
horses,  that  resist  through  malice,  the  afore- 
said lesson. 

The  lesson  of  the  croup  au  mur,  is  naturally 
derived  from  the  precedent ;  for,  when  the 
horse  goes  epaule  en  dedans  to  the  right  or 
to  the  left,  he  is  at  the  same  time  disposed  to 
avoid  the  heels  on  the  hand  of  the  opposite 
side.  Thus,  for  the  purpose  of  giving  this 
lesson,  after  having  placed  the  horse  on  the 
right  track,  you  will  at  first  put  him  to  the 
gait  of  epaule  en  dedans,  then  you  will  turn 
him,  la  croup  au  mur,  or  the  croup  to  the  wall, 
in  such  a  manner  that  the  shoulders  and  the 
hips  may  be  placed  in  a  line  right  across  the 
track. 

In  this  posture  you  will  excite  the  horse 
easily  to  make  some  steps  aside,  by  support- 
ing the  right  rein,  and  lightly  the  leg  of  the 
same  side.  If  the  horse  does  with  docility 
some  steps,  throwing  the  right  leg  well  over 
the  left,  you  will  stop  him  to  caress  him,  to 
make  him  comprehend  that  you  are  satisfied 
with  him;  then  you  will  recommence  and 
6 


62  THE  ART  OF 

Stop  him  again  at  the  end  of  some  steps,  and 
thus  in  order,  to  the  end  of  the  track.  After 
having  let  him  repose  there  an  instant,  you 
will  feel  the  rein,  and  the  left  leg,  in  order  to 
change  hand,  and  you  will  bring  him  back  in 
this  manner,  always  on  the  side  to  the  point 
from  which  he  had  gone. 

As  this  lesson  will  fatigue  and  embarrass 
the  horse,  at  the  commencement,  if  he  be  not 
yet  trained,  you  will  conduct  him  at  first 
slowly,  stopping  him  frequently  to  caress  him 
when  he  will  have  obeyed,  and  avoiding  to 
discourage  him  when  he  does  not  obey. 

If,  going  well  on  one  hand,  he  obstinately 
refuses  to  go,  la  croupe  au  mur  to  the  oppo- 
site hand,  it  will  be  a  sign  that  the  shoulder 
on  this  side  is  not  sufficiently  supple,  and  you 
should  return  him  to  the  lesson  of  epaule  en 
dedans. 

M.  de  la  Guerinlere  thinks,  that  the  lesson 
de  I'epaule  en  dedans  and  that  of  the  croup 
au  mur  which  ought  to  be  inseparable,  are 
excellent  to  give  suppleness  to  a  horse,  a 
beautiful  bend,  and  beautiful  posture,  which 
he  ought  to  have  to  move  with  grace  and 
lightness  ;  it  is  not  necessary  for  that  purpose 
to  abandon  the  lesson  of  the  trot  on  a  right 


HORSEMANSHIP.  63 

line,  and  on  circles  ;  you  must  always  return 
to  these  first  principles  to  preserve  him  and 
confirm  him  in  a  bold  and  sustained  action  of 
the  shoulders  and  the  hips.  By  this  means 
you  divert  the  attention  of  the  horse,  and 
relieve  him  from  the  subjection  in  which  you 
are  obliiJjed  to  hold  him,  durino^  the  lesson  of 
the  croup  au  mur,  and  de  I'epaule  en  dedans. 
This  author  wishes  that  of  the  first  short 
lessons  that  you  will  make  every  day,  the 
first  may  commence  by  the  lesson  of  epaule 
en  dedans  on  a  walk  ;  and  after  two  changes 
of  the  hand  on  the  same  track,  you  will  put 
the  croup  to  the  wall  with  two  hands,  and  you 
will  finish  on  a  walk  by  a  track  on  a  right 
line  ;  the  second  lesson  after  a  rest  should  be 
devoted  to  a  bold  and  sustained  trot :  the  third 
and  last  will  be  like  the  first.  By  combining 
thus,  these  three  lessons,  of  epaule  en  dedans, 
of  trot,  and  of  croupe  au  mur,  you  will  see 
if  I  may  so  speak,  the  suppleness  and  obedi- 
ence of  the  horse,  as  well  as  the  address  of 
the  rider,  increase. 


64  THE  ART  OF 


Of  stops,  half  stops,  of  falling  hack,  and  of 
the  changes  of  haiid. 

This  lesson  is  necessary  to  a  beginner,  to 
teach  him  in  every  sense  more  and  more  how 
to  govern  his  horse :  it  is  not  less  useful  to 
place  a  young  horse  on  his  hips,  and  to  render 
him  light  to  the  hand.  If  a  horse  in  moving 
uses  his  shoulders  and  his  hips  equally,  he 
would  seek  in  the  bridle  a  proper  rest  to 
counterbalance  the  natural  weakness  of  his 
forepart,  and  he  would  bear  too  much  on  the 
hand. 

You  may  accomplish  the  prevention  of  this 
fault,  which  very  much  injures  the  confidence 
of  the  horse,  and  extremely  fatigues  the  rider, 
and  give  the  horse  a  light  mouth  by  habituat- 
ing him  to  advance  his  hind  feet  and  houghs 
under  the  belly  in  moving,  and  to  take  his 
principal  point  of  rest  in  the  hips :  this  is 
what  they  call  putting  a  horse  on  his  hips. 
Nothing  is  more  proper  for  that  purpose,  than 
the  practice  of  stops,  half  stops,  and  falling 
back. 

The  arret,  or  stop,  consists  in  drawing  back 
with  the  left  hand  the  head  of  the  horse,  and 


HORSEMANSHIP.  65 

the  otlier  foreparts,  by  pressing  forward, 
delicately,  at  the  same  time  the  hips  with  the 
calves  of  the  leg,  so  that  all  the  body  of  the 
horse  may  rest  in  equilibrium  upon  the  back 
feet ;  a  movement  much  more  difficult  to  be 
executed  by  the  horse  than  that  of  turning, 
which  is  more  natural. 

To  make  ^  stop  well,  you  must  take  the 
moment  the  horse  is  very  animated,  and  make 
him  delicately  feel  the  help  of  the  legs,  at  the 
same  time  that  you  will  put  your  shoulders  a 
little  backwards,  and  make  the  bridle  more 
and  more  firm,  until  the  horse  be  entirely 
stopped.  You  must,  whilst  you  execute  this 
movement,  close  your  elbows  a  little  towards 
the  body,  in  order  to  have  more  security  in 
the  bridle  hand  ;  it  is  necessary  that  the  horse 
be  straight  in  order  that  the  hips  be  equal, 
without  which  the  stop  would  be  false.  The 
stop  in  a  trot  should  be  made  at  once',  the 
back  feet  straio:ht,  and  not  advancino-  one 
more  than  the  other,  but  in  the  gallop,  the 
movement  of  which  is  more  extended  than 
that  of  the  trot,  you  must  stop  the  horse, 
two  or  three  times,  in  proportion  as  the  front 
feet  fall  on  the  ground,  in  order  that  when  he 
lifts  himself  up,  he  may  be  on  his  hips.  For 
6* 


66  THE  ART  OF 

that  purpose,  in  drawing  back  the  hand,  you 
must  aid  him  a  little  with  the  back  of  the 
knees  or  calves  of  the  legs,  to  make  him  slip 
his  hips  under  him.  It  is  good  to  accustom 
a  horse  that  you  are  training,  to  make  stops 
as  soon  as  he  becomes  light  to  the  trot,  and 
turns  easily  to  both  hands,  but  at  first  it  must 
be  done  rarely,  and  with  great  precaution,  for 
by  stopping  a  young  horse,  or  one  weak  in 
the  reins,  suddenly,  you  would  risk  forcing 
these  parts,  as  well  as  the  back  part  of  the 
knees,  and  ruining  the  animal  forever.  The 
rider  ought  also  to  take  care  that  the  high 
part  of  his  body  does  not  make  a  movement 
in  front,  at  the  moment  in  which  the  horse 
stops,  an  inconvenience  he  will  prevent  by 
strengthening  beforehand  his  reins.  Every 
time  that  you  stop  your  horse,  you  must  not 
forget  to  caress  and  soothe  him. 

The  advantages  of  a  well  made  stop,  are 
to  collect  the  powers  of  a  horse,  to  make 
the  mouth,  the  head  and  hips  sure,  and  to 
render  him  light  to  the  hand,  but  in  the  pro- 
portion as  these  means  are  efficacious,  when 
employed  judiciously,  so  are  they  injurious  if 
they  are  employed  improperly.  To  resume 
the  time  of  stopping,  making  the  whole  effort 


HORSEMANSHIP.  67 

pass  in  the  reins  and  the  houghs,  extremely 
fatigues  these  parts  of  horses  that  are  na- 
turally feeble,  and  soon  ruins  them. 

There  are  but  few  horses  that  are  suffi- 
ciently vigorous  to  support  this  action  fre- 
quently repeated.  The  greatest  proof  that  a 
horse  can  give  of  his  powers  and  of  his  obe- 
dience, is  to  make,  after  a  rapid  course,  a 
firm  and  light  stop :  which  evidently  denotes 
an  excellent  mouth  and  excellent  hips,  qualities 
as  precious  as  they  are  rare. 

The  half  stop  consists  in  drawing  the  bridle 
hand  lightly  towards  you,  the  nails  a  little 
upwards,  without  immediately  stopping  the 
horse,  but  only  drawing  him  back,  and  raising 
up  the  forepart,  when  he  rests  on  the  bit, 
where  you  wish  to  bring  him  back,  or  to 
gather  him  up.  This  action  produces  nearly 
the  same  effects  as  the  full  stop,  without  dis- 
couraging or  fatiguing  the  horse  as  much  ; 
and  for  this  reason  you  ought  to  repeat  it  in 
preference  and  employ  it  frequently,  above  all 
with  horses  that  have  a  bad  habit  of  resting 
too  much  on  the  hand.  As  to  those  that  are 
naturally  disposed  to  retain  themselves,  you 
must  at  the  same  time  that  you  make  them 
mark   a   half  stop,  animate  them  with  the 


68  THE  AUT  OF 

calves,  and  even  sometimes  with  the  spurs, 
for  fear  that,  they  do  not  fully  stop. 

To  make  a  horse  fall  back,  the  action  of 
the  bridle  hand  is  the  same  as  to  mark  a 
stop  ;  so  that  to  accustom  a  horse  to  fall  back 
easily,  you  must,  after  having  made  the  stop, 
draw  back  the  bridle,  the  nails  upwards,  as  if 
you  wished  to  make  a  second  stop  ;  when  the 
horse  will  have  obeyed,  that  is,  when  he  will 
have  made  two  or  three  steps  backwards,  you 
must  yield  your  hands  to  soothe  his  lower 
jaws,  otherwise  a  too  long  pressure  on  the 
part  of  the  bit  would  stupify  him,  and  the 
horse,  instead  of  falling  back,  would  force  the 
hand,  or  make  a  full  stop. 

To  fall  back  well,  you  must,  at  each  stop 
that  the  horse  makes  in  the  rear,  hold  him 
ready  to  advance  anew  ;  it  is  a  great  defect 
to  fall  back  too  quickly,  because  the  horse 
precipitating  his  force  backwards,  runs  the 
risk  of  throwing  himself  on  his  tail,  or  of 
throwing  himself  on  his  back,  particularly  if 
he  has  weak  reins.  It  is  necessary  also  that 
he  fall  back  straight,  without  crossing,  in 
order  to  bend  the  two  hips  equally  under  him  ; 
if  he  is  obstinate  and  does  not  wish  to  fall 
back,  which  often  happens,  almost  generally 


HORSEMANSHIP.  69 

with  horses  which  have  not  heen  well  trained, 
it  is  necessary  that  a  man  on  foot  give  him 
some  small  touches  with  the  whip  on  the 
knees  and  ancles  ;  at  the  same  time  the  rider 
should  draw  the  bridle  to  him,  but  if  he  does 
not  obey,  you  must  caress  him  at  each  sign 
of  obedience  that  you  obtain  from  him. 

When  a  horse  falls  back,  he  has  always 
one  hind  leg  under  the  belly,  he  pushes  the 
croup  behind,  and  he  is  at  each  movement 
sometimes  on  one  hip,  sometimes  on  the 
other,  but  he  cannot  well  execute  this  action, 
and  it  ought  not  to  be  required  of  him,  until  he 
.  begins  to  become  supple  and  to  obey  the  stop, 
because  you  are  better  able  to  draw  his 
shoulders  to  you  when  they  are  free  and  sup- 
ple, than  when  they  are  stiff  and  benumbed. 
This  lesson,  always  occasioning  an  effort  more 
or  less  painful  to  the  reins  and  houghs,  should 
be  used  moderately  at  the  beginning,  partic- 
ularly with  horses  that  have  these  parts 
naturally  weak.  It  becomes,  for  the  same 
reason,  a  chastisement  for  horses  that  do  not 
well  obey  the  stop,  but  on  the  other  side  it  is 
a  good  way  to  put  a  horse  on  his  hips,  to 
make  him  adjust  his  back  feet,  to  steady  the 
head,  and  to  render  him  light  in  hand. 


70  THE  ART  OF 

The  action  of  changing  the  track  in  mov- 
ing, or  of  placing  the  horse  on  another  foot, 
is  called  changing  the  hand.  To  execute 
these  changes  well,  you  must  round  your 
hand  a  little,  and  carry  it  on  the  side  you  wish 
to  go,  assisting  the  horse  at  the  same  time  on 
that  side,  and  sustaining  him  lightly  with  the 
other  ;  all  this  should  be  done  with  precision, 
without  shakinor  and  without  retarding  the 
gait  of  the  horse.  Many  persons,  are  in  the 
custom  of  alternately  passing  the  reins  and 
the  whip  from  one  hand  to  the  other  at  each 
change,  but  this  practice  is  not  necessary, 
above  all  to  beginners,  as  it  would  serve  but 
to  increase  the  embarrassment  that  they 
generally  experience  when  it  is  necessary  for 
them  to  change  the  hand. 

It  is  by  the  assistance  of  these  changes 
frequently  repeated,  as  well  as  stops  and  half 
stops,  that  a  rider  will  easily  attain  the  pos- 
session of  a  good  hand,  that  he  will  accustom 
a  new  horse  to  go  with  both  hands,  and  exe- 
cute without  difficulty  or  embarrassment,  all 
the  evolutions  that  he  will  desire. 

The  narrow  limits  of  this  manuel  will  per- 
mit me  to  give  but  a  circumscribed  extent  to 
each  of  its  parts.     I  believe  I  must  terminate 


nORSEMAA'SIIIP.  71 

here,  what  I  have  to  say  on  equitation.  The 
small  number  of  lessons  which  form  the  mat- 
ter of  this  last  chapter,  seem  to  me  sufficient 
to  put  every  man  who  will  not  have  the  pre- 
tension of  becoming  a  consummate  horseman, 
in  a  state  of  being  his  own  master. 

As  to  persons  who  desire  to  acquire  more 
profound  knowledge,  they  will  not  be  able  to 
obtain  it  from  the  most  complete  treatises,  if 
they  do  not  at  the  same  time  join  to  them 
the  practical  lessons  of  Franconi,  Pitou,  or 
other  great  masters. 


APPENDIX. 

DIREOTIOXrS  FOR  THE  IiADIES. 


OF  MOUNTING. 

Preliminary* 

The  pupil  should  be  brought  forward  by 
degrees,  and  with  due  preparation.  Her 
lessons  should  be  short  and  gentle,  as  well 
with  a  view  to  her  gradual  progress,  as  to 
prevent  injury  from  too  great  exertion. 

Some  teachers  so  much  regard  this  pro- 
gression, that  before  they  place  a  lady  on 
horseback,  they  make  her  execute,  and  that 
with  facility,  lessons  with  the  bridle  and  sad- 
dle alone ;  and  these  occupy  her  attention 
several  days. 

The  early  lessons  are  given  with  a  snaffle 
bridle,  on  a  well  trained  and  steady  horse. 

The  first  instructions  are  those  of  mounting 
and  dismounting. 

7 


THE  ART  OP 


Of  Mounting, 


Whatever  the  disposition  of  a  horse  may 
be,  he  should  be  approached  apparently  in 
good  temper.  Horses  know  by  appearance 
whether  the  rider  is  angry  or  pleased,  bold 
or  timid,  handy  or  awkward.  A  soothing 
tone  of  voice  and  caresses  are  pleasing  ;  and 
to  such  as  are  unsteady,  or  have  a  dislike  to 
be  mounted,  it  helps  to  dispel  their  fears. 
Young  horses  especially  should  therefore  be 
thus  gently  treated,  and  much  encouraged. 

Before  mounting,  it  is  proper  to  observe 
whether  the  saddle  is  rightly  placed,  the  girths 
secure  and  not  too  tight  (for  many  horses  are 
apt  to  plunge  when  they  are),  the  bridle 
fitly  on,  and  the  curb,  when  used,  smoothly 
placed. 

Let  the  assistant  adjust  the  reins  of  the  bit 
smoothly,  and  of  equal  length,  taking  it  up 
within  the  bridon  rein,  and  dividing  the  reins 
with  the  forefinger  of  his  left  hand. 

The  lady  receives  the  reins  from  him  with 
her  right  hand,  just  before  the  pommel  of  the 
saddle,  the  whip  being  in  it,  which  passes  over 
to  the  off"  side. 


HORSEMANSHIP.  75 

The  lady  puts  her  forefinger  between  the 
reins,  gently  letting  them  slip,  not  to  disturb 
the  horse,  till  her  hand  rests  and  lays  hold  on 
the  near  crutch  or  pommel  of  the  saddle. 

She  stands  then  close  to  the  horse,  upright, 
with  the  face  half  turned  from  the  saddle. 
The  assistant  places  himself  before  her,  and, 
where  practice  has  been  wanting  to  make 
either  expert  at  this  business,  it  will  be  best 
for  the  assistant  to  place  both  his  hands  to- 
gether  by  the  intersection  of  his  fingers.  He 
then  stoops  to  receive  the  lady's  left  foot, 
which  must  be  placed  full  and  firm  on  his 
hands. 

The  lady  then  places  her  left  hand  on  his 
right  shoulder,  by  which,  and  the  hold  she 
has  on  the  pommel  of  the  saddle,  she  steadies 
herself,  while  she  bears  all  her  weight  on  the 
assistant's  hands,  straightening  the  left  knee 
and  keeping  it  firm. 

Should  the  lady  be  heavy  or  inactive,  the 
more  particular  care  is  requisite  in  both  : — 
on  the  lady's  part,  that  she  bear  her  weight 
centrically  and  perpendicularly  in  the  hands, 
not  putting  her  foot  forward  as  she  raises  it, 
by  which  she  would  shove  the  person  from 
her ;  on  the  assistant's,  that  he  place  himself 


76  THE  ART  OF 

in  such  manner  that  the  lady  may  be  between 
him  and  the  saddle,  his  face  directed  so  that 
he  can  stoop  to  assist  the  lady  without  re- 
moving himself  to  a  distance  ;  for  the  closer 
he  stands,  the  greater  his  power  to  assist. 

The  assistant  must  not  attempt  to  raise  the 
lady  till  the  right  foot  has  quitted  the  ground, 
and  the  left  knee  is  nearly  straight :  otherwise 
he  will  prevent  the  lady  from  raising  herself 
in  his  hand. 

The  assistant  now,  by  raising  himself,  raises 
the  lady  to  the  saddle,  where  she  pauses 
while  the  assistant  places  the  stirrup  on  her 
left  foot. 

This  done,  the  lady  shifts  her  right  hand 
from  the  near  crutch  of  the  pommel,  to  the 
off  crutch  of  the  pommel;  and  the  assistant 
places  his  right  hand  under  the  lady's  left 
arm,  by  the  support  of  which,  and  the  hold 
she  has  with  her  right  hand,  she  will  raise 
herself  upright  in  the  stirrup. 

The  assistant  with  his  left  hand  draws  the 
clothes  next  the  saddle  forward. 

This  being  done,  the  lady  places  her  right 
knee  over  the  pommel  of  the  saddle,  and  then 
seats  herself. 

By  this  mode,  if  properly  attended  to,  you 


HOESEMANSHIP.  77 

/ 

will  find  several  inconveniences  avoided,  such 
as  the  binding  of  the  clothes  under  the  right 
knee,  the  difficulty  of  raising  the  knee  over 
the  high  pommels  now  in  use,  &c. 

Should  the  clothes  want  any  adjustment 
behind,  the  lady  with  her  left  hand  takes  hold 
of  the  assistant's  left  hand,  her  right  hand 
having  hold  of  the  pommel,  and  raising  her- 
self forward,  the  assistant  at  the  instant,  with 
his  right  hand,  adjusts  them  smoothly. 

When  ladies  become  expert  horsewomen, 
they  can  adjust  their  clothes  when  they  be- 
come uncomfortable,  without  assistance,  and 
consequently  are  not  necessitated  to  have 
their  clothes  pinned.  This  they  can  do  when 
riding  at  any  pace,  or  standing  still,  at  their 
pleasure. 

The  method  of  doing  it  is  to  take  the  reins 
in  the  right  hand  as  directed  when  mounting, 
holding  by  the  off  crutch  or  pommel  of  the 
saddle,  and  raising  yourself  up.  The  action 
of  the  horse,  if  moving,  will  then  consider- 
ably assist  you.  With  your  left  hand,  each 
time  you  rise,  pull  and  shake  your  clothes 
down,  and  endeavour  to  raise  yourself  as  high 
as  you  can  for  that  purpose. 

When  the  clothes  rise  before,  it  may  be 
8 


78  THE  ART  OF 

necessary  to  remove  the  knee  from  the  pom- 
mel. This  few  ladies  choose  to  do,  nor  is  it 
adviseable,  but  when  the  horse  stands  still,  or 
is  only  in  a  slow  walk.  You  then,  having 
hold  as  before,  and  leaning  the  body  back, 
but  raising  yourself  upright  in  the  stirrup  is 
best,  remove  your  knee,  and  thus  standing, 
let  the  garments  fall  down  by  a  momentary 
shifting  of  any  part  that  presses  them  to  the 
saddle  ;  which  done,  place  your  knee  again, 
and  seat  yourself. 

Pouches  in  the  skirts  of  the  habit,  with 
leads  in  them,  are  very  convenient ;  the  habit 
then  flows  more  gracefully  than  when  pinned, 
and  the  petticoats  may  be  pinned  under  the 
skirt,  if  the  lady  prefer  it. 

Ladies  who  ride  should  have  their  hair  very 
firmly  and  closely  dressed,  and  their  hats 
pinned,  so  as  to  prevent  their  being  moved  by 
the  motion  of  the  wind,  or  the  horse,  or  the 
brims  flapping  over  their  eyes  ;  for  either  of 
these  not  only  greatly  embarrasses  the  rider, 
but  prevents  her  seeing  how  to  guide  her 
horse. 

Of  disposing  the  reins. 
The  pupil  should  then  divide  the     reins 


HORSEMANSHIP.  79 

holding  them  separated  with  the  little  finger  of 
each  hand,  the  end  of  the  reins  being  thrown, 
over  the  fore-fingers,  the  thumb  closed  on 
them,  and  the  finger  shut. 

When  afterwards  further  advanced,  she 
holds  the  reins  in  the  left  hand. 

OF  DISMOUNTING. 

Ladies  dismount  their  horses  with,  and  oc- 
casionally without,  assistance. 

In  either  case,  they  first  shift  the  reins  to 
the  right  hand,  and  apply  it  to  the  ofi*  crutch 
of  the  saddle. 

The  gentleman  officiates,  if  present,  in 
clearing  the  lady's  clothes  from  the  pommel 
of  the  saddle,  as  the  lady  raises  her  knee  over. 

Taking  the  stirrup  from  the  foot,  the  lady 
then  shifts  her  right  hand  to  the  near  crutch 
of  the  pommel. 

In  whatever  manner  the  lady  may  choose 
to  dismount,  it  is  necessary  to  be  careful  that 
the  clothes  are  off"  the  pommel  of  the  saddle, 
and  the  stirrup  free  of  any  entanglement. 

I.  If  the  lady  is  alert  and  active,  she  may 
dismount  very  gracefully,  by  giving  her  left 
hand  into  the  gentleman's  left  hand;  and, 
springing  just  sufficiently  to  clear  the  saddle, 
she  will  alight  on  the  balls  of  the  feet,  with 


80  THE  ART  OF  HORSEMANSHIP. 

the  knees  a  little  bent,  so  as  to  drop  a  small 
curtsy,  which  will  prevent  any  jar  which 
might  otherwise  take  place. 

The  gentleman  must  have  his  right  hand 
ready  to  apply  under  the  lady's  left  arm  as 
she  alights.  Thus  he  may  not  only  lighten 
her  down,  but  prevent  any  accident  that  might 
occur  by  the  lady's  foot  alighting  on  anything 
that  might  occasion  her  to  slip. 

II.  Should  the  lady  not  choose  to  spring  in 
this  manner  from  the  horse,  she  will  lean  for- 
ward, and  the  gentleman  will  receive  her  with 
a  hand  under  each  arm,  and  lighten  her  to 
the  ground. 

III.  When  the  lady  dismounts  without  help, 
after  clearing  her  stirrup,  and  every  thing  as 
above  described,  slie  turns  herself  to  the  right 
in  such  manner  that  she  may  lay  hold,  with 
her  left  hand,  of  a  large  lock  of  the  horse's 
mane,  keeping  hold  at  the  same  time  of  the 
near  side  pommel. 

She  then  springs  from  the  horse  to  clear 
her  clothes. 

She  alights  on  the  balls  of  her  feet,  with 
her  knees  a  little  bent,  for  the  purpose  before 
directed,  and  her  face  to  the  horse's  withers,, 
keeping  fast  hold  with  both  hands  till  she  is 
firm  and  secure  on  her  feet. 


VOCABUZiAHir 

OF  TERMS  OF 

THE    FRENCH   MANEGE, 

THE 

Explanation  of  which  is  not  found  in  this  Manual. 

Abandonner  son  chevaL  To  let  the  horse 
go  with  all  his  speed,  without  restraining  him 
with  the  bridle,  and  not  sustaining  him  suffi- 
ciently. 

Acculer,  It  is  said  that  a  horse  s'accule^ 
when  he  falls  back  in  going  sideways,  and 
when  his  hips  move  before  his  shoulders. 

Acheminer  un  chevaL  To  supple  and 
instruct  a  horse,  to  prepare  him  to  any  air  of 
the  manege.  It  is  said  of  a  horse  that  shows 
good  dispositions,  and  good  will,  and  that 
understands  the  bridle  well,  and  answers 
easily  to  the  helps,  that  he  is  well  instructed. 

Aids.  See  the  first  chapter  for  their  defi- 
nitions. It  is  said  of  a  rider  that  he  has  fine 
helps,  when  he  assists  his  horse  with  grace, 
8* 


83  THE  ART  OF 

ease,  and  by  almost  imperceptible  movementSr 
The  same  thing  is  said  of  a  horse  prompt  to 
obey  the  helps. 

Air^ — Is  said  of  the  fine  attitude  of  a  horse 
in  the  various  evolutions  that  he  executes, 
and  of  the  cadence  that  he  observes  in  his 
movements,  according  to  the  species  of  gait, 
whether  natural  or  artificial,  in  which  he 
moves.  Certain  artificial  airs  or  gaits  in- 
vented to  display  at  once  the  grace  and  sup- 
pleness of  the  horse,  and  the  address  of  the 
rider.  Airs  are  called  low  or  lofty  according 
as  they  are  more  or  less  detached  from  the 
ground. 

Allures,  or  gaits.  See  in  the  first  part  the 
article  devoted  to  the  gaits  of  a  horse. 

Appui,  or  rest.  The  sensation  which  the 
bridle  produces  in  the  hand  of  the  lider,  and 
reciprocally  the  action  that  the  hand  exercises 
on  the  lower  jaw  of  the  horse  by  means  of 
the  bit.  A  horse  has  no  rest  when  he  cannot 
support  the  action  of  the  bit,  and  when  he 
gives  blows  of  the  head  for  the  purpose  of 
relieving  himself  from  it;  he  has  too  great  a 
rest  when  he  presses  heavily  on  the  bridle  ; 
he  has  a  liberal  or  free  rest,  when,  without 
pressing  or  beating  the  hand,  he  leaves  in  the 


HORSEMANSnlP.  83 

hand  of  the  rider  the  feeling  of  a  soft  and 
equal  pressure,  which  is  the  effect  of  an  ex- 
cellent mouth.  The  same  thing  is  said  of 
the  hand  of  the  rider  with  regard  to  the  effect 
that  it  produces  on  the  mouth  of  the  horse. 

Appuyer  les  eperons,  or  to  rest  the  spurs. 
To  make  them  vigorously  felt. 

Armer,  or  to  defend  himself.  Is  said  of  a 
horse  that  defends  himself  against  the  action 
of  the  bit.  See  the  article  on  the  choice  of  a 
bit  in  the  first  chapter. 

To  sit  a  horse  upon  his  hips.  To  render 
him  firm  on  this  part,  for  the  purpose  of 
easing  the  fore  part  of  the  horse.  It  is  also 
said  of  the  rider,  that  he  sits  on  the  saddle, 
or  in  the  saddle,  that  is  to  say,  renders  him- 
self firm  on  the  saddle  bows. 

Assiette,  or  seat.  Attitude  of  the  rider  on 
the  saddle.  It  is  said,  to  lose  the  seat, — to 
have  a  good  seat. 

Attaquer,  to  attack.  To  make  the  horse 
feel  the  spurs  or  the  chambriere. 

Avertir  au  cheval,  to  warn  a  horse.  To 
make  him  feel  the  helps,  to  reanimate  him, 
or  to  indicate  to  him  what  you  wish  him  to  do. 

Balancer,  to  balance.  Is  said  of  a  horse  that 
throws  the  croup  right  and  left  when  moving. 
82 


84  THE  ART  OF 

Ballotade.  Air  of  the  manege.  It  is  a 
high  leap,  in  which  the  horse,  having  his 
feet  in  the  air  at  an  equal  height,  presents 
the  shoes  of  his  back  feet  as  if  he  wished  to 
kick,  without  in  the  mean  while  slackening 
the  kicking.     See  Capriole. 

Battre  al  la  Jiiain,  to  beat  the  hand.  See 
Hand. 

Brouiller  au  cheval.  Is  said  of  a  rider 
who,  not  knowing  how  to  harmonize  the 
movements  of  the  hand  with  those  of  the  legs, 
confuses  his  horse,  that  he  does  not  know 
which  help  to  obey. 

Cadence.  Regular  and  heard  measure 
that  the  horse  observes  in  his  movements. 
It  is  said  of  a  horse  that  he  sustains,  or  does 
not  sustain,  his  cadence  ;  that  he  loses  or  pre- 
serves his  cadence. 

Capriole.  Air  of  the  manege.  It  is  a 
leap  analogous  to  the  ballotade,  with  this  dif- 
ference, that  the  horse  being  in  the  air, 
slackens  the  throw,  with  the  quickness  of 
lightning,  and  with  all  his  force. 

To  confirm  a  horse  in  the  air  of  a  manege, 
a  gait,  a  lesson.  It  is  to  continue  him  in  it 
until  he  is  perfectly  trained. 

Courhette.     Air  of  the  manege   in  which 


HORSEMANSHir.  85 

the  horse  raises  the  forepart  in  bending  his 
legs  downwards,  and  bends  his  haunches  under 
him. 

Croupade.  Another  air  of  the  manege, 
more  lofty  than  the  courbette,  and  in  which 
the  horse,  being  in  the  air,  draws  up  his  hind 
feet  under  his  belly  almost  at  the  same  height 
as  those  in  front. 

Dedans,  inside.  The  side  on  which  a 
horse  is  exercised.  Thus  when  he  works  on 
the  left,  or  on  the  right  hand,  all  the  part  of 
this  side  is  called  the  inside,  the  opposite  part 
is  called  the  outside,  it  is  evident  that  in  the 
manege,  the  part  of  the  horse  which  is  next 
the  wall  or  barrier  is  that  which  is  called  le 
de  hors,  or,  the  outside. 

Defendre,  to  defend.  It  is  said  of  a  horse 
that  he  defends  himself,  instead  of  obeying 
the  aids  or  helps,  when  he  seeks  to  free  him- 
self from  their  subjection  by  all  the  means  in 
his  power. 

Derober^  or  to  slip  away.  When  the  horse 
in  galloping,  redoubles  his  speed,  seeking  to 
pass  from  between  the  legs  of  his  rider,  it  is 
said  that  he  seeks  to  slip  from  under  his 
rider. 

83 


86  THE  ART  OF 

Doubler,  to  double.  To  turn  a  horse 
without  changing  of  hand. 

Ecouter  son  cheval,  to  hear  one's  horse. 
To  be  attentive  not  to  derange  him  from  his 
gait  when  he  goes  well  ,•  to  hear  his  move- 
ments. 

Estrapade.  A  leap  in  which  the  horse 
raises  the  croup  higher  than  the  forepart  by 
drawing  up  his  hind  feet  with  violence,  for 
the  purpose  of  throwing  his  rider  over  his 
head :  this  is  a  very  dangerous  leap  for  the 
rider. 

Hand.  This  term  is  employed  in  the 
manege  in  a  multitude  of  circumstances : 
as  well  where  it  refers  to  the  feet  of  the  horse 
as  to  the  hand  of  the  rider.  It  is  thus  that 
we  speak  of  exercising  a  horse  on  the  right 
hand,  or  on  the  left  hand,  according  as  he 
is  put  on  the  one  or  the  other  foot.  To  work 
from  one  hand  to  the  other,  to  turn  the  horse 
on  a  track,  with  the  aid  of  one  hand,  without 
employing  the  legs.  To  yield  or  draw  back 
the  hand,  is  to  lower  the  left  hand  for  the 
purpose  of  decreasing  the  action  of  the  bit, 
or  to  execute  the  contrary.  It  is  said  of  a 
rider  who  has  a  rough  hand,  and  holds  the 
bridle  too  firm,  he  ties  himself  to  his  hand  ; 


iroRSE>iANsuir.  87 

of  a  horse  who  by  ignorance  or  disobedience 
draws  the  bridle  in  raising  the  nose  in  front, 
that  he  draws  the  hand ;  of  him  who  rests 
upon  the  bit  as  upon  a  fifth  leg,  that  he  is 
heavy  in  the  hand ;  of  him  who  gives  blows 
with  the  head,  as  if  to  shake  off  the  bridle, 
that  he  beats  the  hand,  a  very  ordinary  defect 
among  horses  that  have  the  hand  badly  placed, 
or  the  lower  jaws  too  sharp.  To  be  in  the 
hands,  and  in  the  heels,  is  said  of  a  horse 
perfectly  trained,  who  obeys  in  all  circum- 
stances with  an  equal  facility  the  helps  of 
the  hands  and  legs  ;  it  is  the  beau  ideal  of 
the  perfection  of  a  horse. 

Manege*  This  word  is  designed  at  once 
to  express  the  various  exercises  of  the  school 
in  which  horses  are  taught,  and  the  place  in 
which  they  are  trained  to  these  exercises. 
It  is  said,  in  the  first  acceptation,  that  a  horse 
is  well  or  badly  trained  at  such  or  such  a 
manege  :  there  are  maneges  for  war  and 
maneges  for  schools.  The  manege  in  which 
horses  are  exercised,  is  a  space  of  one  hund- 
red and  fifty  feet  long,  by  fifty  wide,  more  or 
less,  and  chosen  in  a  firm  soil,  level  and  flat : 
some  are  enclosed  and  covered,  and  some  are 
not. 


88  THE  ART  OF 

Montoir,  or  side  to  mount.  The  left  side 
of  the  horse  is  called  the  mounting  side,  and 
the  other  side  the  offside. 

Mouton.  The  sheep  "leap  differs  from  the 
strapade  in  this,  tliat  the  horse  does  not  kick 
in  the  former  which  renders  it  less  dangerous 
for  the  rider. 

Passades.  To  make  passades.  It  is  to 
conduct  a  horse  in  a  right  line,  in  changing  at 
both  ends  from  the  right  to  the  left,  and  from 
the  left  to  the  right,  to  return  to  the  point  of 
departure,  passing  and  repassing  always  on 
the  same  line. 

Pesade.  Air  of  the  menege,  in  which  the 
horse  is  trained  and  holds  himself  firm  on  his 
hind  feet,  as  if  he  wished  to  leap,  but  without 
moving  from  his  place. 

Piaffer,  to  Plaff.  Is  said  of  a  horse  that 
moves  his  legs  in  cadence,  as  if  he  was  going, 
but  without  advancing  from  his  place,  and  in 
holding  himself  well  in  the  hand,  and  the  legs 
of  his  rider.  Piaffing  gives  much  grace  in  a 
horse  well  trained. 

Pirouette.  An  evolution  in  which  the  horse 
turns  on  himself  from  head  to  tail,  without 
changing  place,  the  hind  leg  of  the   inside, 


HORSEMANSHIP.  89 

doing  in  this  case  the  office  of  a  pivot,  on 
which  the  rest  of  the  mass  turns. 

Piste.  This  word  serves  to  designate  the 
plan  that  a  horse  follows  in  moving.  He  goes 
on  one  track  when  he  goes  straight,  that  is  to 
say,  when  his  shoulders  are  on  the  same  line 
with  his  hips,  and  when  his  hind  feet  follow 
those  of  the  front ;  he  goes  on  two  pistes  or 
tracks,  when  the  shoulders  do  not  follow  the 
line  of  the  shoulders,  as  when  he  goes  side- 
ways. 

Porter,  to  carry.  Is  said  of  the  manner  a 
horse  carries  his  chest  when  moving ;  to  car- 
ry high,  to  carry  low.  This  word  signifies 
also  to  make  a  horse  go,  to  carry  a  horse  in 
front  to  the  right,  and  to  the  left,  and  sideways. 

Racourcir  un  chevaL  To  slacken  his  gait, 
by  drawing  back  the  bridle. 

Ramener.  Is  to  make  a  horse  lower  his 
nose,  who  carries  it  in  the  wind,  and  draws 
the  hand. 

Rassembler,  Is  to  draw  up  a  horse  and 
put  him  on  his  haunches,  and  to  prepare  him 
to  obey  the  helps  ;  which  is  done  by  drawing 
up  the  front  with  the  bridle  hand,  at  the  same 
time  that  you  force  forward  the  haunches 
under  him. 


90  THE  ART  OF 

Reprise,  is  said  of  a  lesson  that  is  repeated 
after  having  allowed  the  horse  to  repose,  or 
otherwise,  the  duration  of  each  exercise  that 
he  is  made  to  do. 

Ruade.  An  impetuous  movement  in  which 
the  horse  lowering  his  head,  and  raising  his 
back,  suddenly  throws,  with  all  the  force  of 
which  he  is  susceptible,  his  hind  legs,  and 
shows  his  heels. 

Saccade.  Is  said  of  a  violent  shake  that 
the  rider  gives  to  the  mouth  of  his  horse,  by 
drawing  the  bridle  roughly. 

Susienus,  sustained.  Is  said  of  movements, 
lofty,  heard,  cadenced,  and  very  regular. 

Terre  a  terre.  A  sort  of  gallop,  lively  and 
low,  which  is  made  on  two  tracks. 

Traverser,  Is  said  of  a  horse,  who,  in- 
stead of  going  straight,  when  you  wish  to  put 
him  on  a  track,  throws  himself,  sometimes  on 
one  heel,  sometimes  on  another,  and  moves 
slantingly. 

Trepeigner,  to  beat  the  ground  with  the 
foot.  Is  said  of  a  horse,  who,  being  at  rest, 
strikes  the  ground  with  the  foot  through  im- 
patience, or  excess  of  ardor. 

Tride,  lively.  An  adjective  employed  to 
designate  precipitate  movements,  in  which  a 


HOKSEMANSHIP.  91 

horse  lowers  his  hips  under  him,  promptly 
and  lively.  It  is  said  that  a  horse  has  la 
course  tride,  when  he  gallops  with  his  hips 
short  and  quick. 

Volte,  flight.  An  air  of  the  menege,  in 
which  a  horse  going  on  two  tracks  describes 
two  parallel  circles. 


THE  END. 


NEW  WORKS, 

IN  PRESS  BY 

E.  L.  CAREY  &  A.  HART, 

Corner  of  Fourth  and  Chesnut  Streets, 

1.  CONTRAST,  a  novel,  by  Earl  Mulgrave,  author 
of  Matilda,  and  Yes  and  No,  in  2  vols,  (nearly  ready.) 

2.  A  SUBALTERN  IN  AMERICA,  during  the  late 
war,  1  vol.  12mo. 

3.  TRAITS  AND  STORIES  OF  THE  IRISH 
PEASANTRY,  1st.  series,  2  vols.  12mo. 

4.  THE  STAFF  OFFICER,  or  Soldier  of  Fortune, 
2  vols. 

5.  A  MANUAL  OF  HORSEMANSHIP,  translat- 
ed  from  the  French,  1  vol.  18mo. 

6.  TOM  CRINGLE'S  LOG,  2d  series,  2  vols.  12mo. 

7.  THE  MAN-OF-WARS-MAN,  by  the  author  of 
"  Tom  Cringle's  Log,"  2  vols.  12mo.  (nearly  ready.) 

8.  MEMOIRS  OF  MARSHAL  NEY,  compiled 
from  papers  in  possession  of  his  family,  1  vol.  8vo. 

9.  BLAKE'S  CONVERSATION  ON  BOTANY, 

1  vol.  12mo.  colored  plates. 

10.  WOMAN  THE  ANGEL  OF  LIFE,  a  poem, 
by  Robert  Montgomery. 

11.  PETER  SIMPLE,  or  Adventures  of  a  Mid- 
shipman, 2  vols.  12mo. 

12.  THE  INVISIBLE  GENTLEMAN,  by  the  au- 
thorof  "Chartley  the  Fatalist,"  and  "The Robbers,"  2 
vols.  l2mo. 

13.  FROISSART  AND  HIS  TIMES,  by  the  late 
Barry  St.  Leger. 

14.  THE  WAY  OF  THE  WORLD,  by  the  author 
of  De  Lisle,  2  vols.  12mo. 

15.  THE  NAVAL  OFFICER,  2  vols.  12mo. 

16.  MOTHERS  AND  DAUGHTERS,  a  novel,  by 
the  author  of  Pin  Money. 

17.  TOM  CRINGLE'S  LOG,  a  new  edition,  com- 
plete,  3  vols.  12mo. 

18.  FIVE  NIGHTS  OF  ST.  ALBANS,  a  novel,  in 

2  vols.  12mo. 


'1>V 


'^MMM 


'304 


'm 


